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BY  THE  SAME  AUTHOR 


Aubrey  Beardsley’s  Drawings : A Catalogue  and  a List  of  Criticisms 

Wit/i  hitherto  unfiublished  drawings  and  fiortraits.  1903. 

Whistler’s  Art  Dicta  and  Other  Essays 

With  facsimiles  of  letters  and  drawings.  1904. 

Whistler:  Notes  and  Footnotes  and  Other  Memoranda 
(Whistler,  Chikle  Hassam,  Leonardo,  and  Puvis  as  caricaturists,  etc.)  Illus- 
trated. 1907. 

Modern  Art  at  Venice  and  Other  Notes 

Illustrated.  1910. 

Whistler’s  Pastels  and  Other  Modem  Profiles 

(W'histler,  Emest  Haskell,  Zom,  W'inslow  Homer,  Everett  Shinn,  etc.) 
Illustrated.  1912.  JVe%v  edition,  enlarged.  1913. 

The  Portraits  and  Caricatures  of  James  McNeill  Whistler:  An  Icon- 
ography 

Twenty  rejiroductions,  ten  hitherto  unfiublished.  1913. 

Notes  on  Some  Rare  Portraits  of  Whistler 

With  sijc  hitherto  unfiublished  fiortraits.  1916. 

Ceitain  Contemporaries:  A Set  of  Notes  in  Art  Criticism 
(\Mlliam  Glackens,  Ernest  Ltiwson,  John  Sloan,  Walter  Gay,  Steinlen,  etc.) 
Illustrated.  1916. 

The  Portraits  of  Albert  Gallatin 

Three  refiroductions,  after  Sharfiles,  Stuart,  and  Peale.  1917. 

Paul  Manship:  A Critical  Essay  on  his  Sculpture  and  an  Iconography 

Illustrated.  1917. 

Vermeer  of  Delft 

Illustrated.  1917. 


TOT(TRAITS  OF  WHISTLER 


in 


s 


Portraits  of  Whistler 

CT^TICAL  STUDT  AND  AN^ICON^gRAPHT 
BY  A.  E.  GALLATIN 

WITH  FORTY  ILLUSTRATIONS 


Often  I have  found  a portrait  superior  in  real 
instruction  to  half  a dozen  biographies,  carlyle 


NEW  YORK:  JOHN  LANE  COMPANY 


LONDON:  JOHN  LANE,  THE  BODLEY  HEAD 

1918 


Copyright^  1918,  by  Albert  Eugene  Gallatin 


CONTSJV'TS 


THE  PORTRAITS  OF  WHISTLER : A Critical  Study  3 

ICONOGRAPHY 


I.  Portraits  by  Himself 


{a)  Paintings 

25 

(b)  Black  and  TV  kite  Chalk  Drawings 

29 

( c ) Pen  and  Ink  Drawings 

29 

{d)  Pencil  Drawings 

30 

( (? ) Etchings 

31 

{ f)  Dry-points 

33 

II.  Portraits  by  Various  Artists 

( a ) Paintings 

34 

{b)  Pen  and  Ink  Drawings 

40 

( c ) Other  Mediums 

46 

III.  Plastic  Portraits 

59 

IV.  Caricatures 

( a ) Pen  and  Ink  Dfnwings 

61 

( b ) Other  Mediums 

68 

V.  Photographs 

73 

VI.  Literature 

77 

INDEX 

81 

C V ] 


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LIST  OF  ILLUSTRATIONS 


Whistler.  Whistler  in  the  Big  Hat 

Following  page  32 

Whistler.  Whistler  Smoking 

Facing  page  25 

Whistler  (attributed).  Portrait  of  Whistler 

Following  page  32 

Whistler.  Whistler  in  Painting  J acket 

Following  page  32 

Whistler  (attributed).  Whistler  in  His  Studio 

Following  page  32 

Whistler.  Whistler  in  His  Studio 

Follonnng  page  32 

Whistler.  Brown  and  Gold — Portrait  of  Whistler 

Following  page  32 

Whistler.  Portrait  of  Whistler 

Following  pjage  32 

Whistler.  Portrait  of  Whistler 

Following  page  32 

Whistler.  Portrait  of  Whistler 

Following  page  32 

Fantin-Latour.  Portrait  of  Whistler 

Following  page  40 

Fantin-Latour.  Portrait  of  Whistler 

Following  page  44 

Thomas  R.  Way.  Whistler  Printing  Etchings 

Following  page  40 

William  M.  Chase.  Portrait  of  Whistler 

Following  page  40 

Giovanni  Boldini.  Portrait  of  Whistler 

Folloiving  page  40 

Giovanni  Boldini.  Portrait  of  Whistler 

Following  page  58 

Giovanni  Boldini.  Portrait  of  Whistler 

Folloiving  page  58 

Giovanni  Boldini.  Portrait  oj  Whistler 

George  du  Maurier.  Portrait  of  JVhistler  {with  du  Maurier 

Following  page  5 8 

and  Charles  Keene) 

Following  page  44 

Sir  Edward  J.  Poynter.  Portrait  of  Whistler 

Folloiving  page  5 8 

Sidney  Starr  and  W histler.  Portrait  of  IV lustier 

Folloiving  page  44 

William  Rothenstein.  Portrait  of  Whistler 

'[  vii  ] 

Following  page  44 

LIST  OF  ILLUSTRATIONS 


Sir  Francis  Seymour  Haden.  Portrait  oj  Whistler 
John  W.  Alexander.  Portrait  of  Whistler 
Paul  Helleu.  Portrait  of  Whistler 
Paul  Helleu.  Portrait  of  Whistler 
Paul  Rajon.  Portrait  of  Whistler 
William  Nicholson.  Portrait  of  Whistler 
Ernest  Haskell.  Portrait  of  Whistler 
Mortimer  Menpes.  Portrait  of  Whistler 
Charles  Keene.  Caricature  of  Whistler 
Charles  Keene.  Caricature  of  Whistler 
Linley  Sambourne.  Caricature  of  JThistler 
Phil  May.  Caricature  of  Whistler 
Aubrey  Beardsley.  Caricature  oJ  Whistler 
Walter  Crane.  Caricature  of  Whistler 
“Spy”  (Leslie  Ward).  Caricature  of  Whistler 
“Ape”  (Carlo  Pellegrini).  Caricature  of  Whistler 
E.  T.  Reed.  Caricature  of  Whistler 
“Max”  (Max  Beerbohm).  Caricature  of  Whistler 


Following  page  58 
FoUounng  page  58 
Following  page  58 
Following  page  58 
FoUounng  page  58 
Following  page  58 
FoUounng  page  58 
Following  page  58 
FoUounng  page  72 
Following  page  72 
Following  page  72 
Following  page  72 
Following  page  72 
Following  page  72 
Following  page  7^2 
Following  page  72 
FoUounng  page  72 
Following  page  72 


C viii  ] 


TT{EFAC8 

This  book  is  partly  based  upon  my  “ The  Portraits  and  Carica- 
tures of  James  McNeill  Whistler:  An  Iconography”  (1913), 
and  my  “Notes  on  Some  Rare  Portraits  of  Whistler”  (1916). 
The  material  gathered  for  these  books  has  now  been  recast,  re- 
vised, greatly  amplified,  and  largely  augmented;  many  illustra- 
tions have  also  been  added.  Much  of  the  Critical  Essay  was  written 
for  this  book,  and  in  its  present  form  the  book  is  really  new. 

Numerous  of  the  portraits  listed  under  the  division  of  the  Icon- 
ography entitled  “ Portraits  by  Various  Artists”  were  not  executed 
from  life  and  possess  but  little  value.  It  has  been  thought  best, 
however,  to  include  everything,  if  only  as  a means  of  identifica- 
tion. In  order  to  ascertain  the  comparative  importance  of  a given 
item,  the  index  should  be  consulted  to  see  if  it  is  mentioned  in 
the  Critical  Essay ; reference  to  this  will  disclose  such  facts  as  are 
desired.  If  an  item  is  not  mentioned  in  the  Critical  Essay,  it  may 
be  concluded  that  it  possesses  little  or  no  value.  When  a certain 
portrait  is  not  an  original,  but  a copy  from  another,  this  is  stated 
in  the  Iconography.  Many  of  the  portraits  have  been  frequently 
reproduced:  it  has  been  decided  that  nothing  was  to  be  gained 
by  listing  all  of  these  multiple  reproductions,  but  that  where  a 
portrait  was  not  reproduced  for  this  book,  one  reference  would  be 
given,  preferably  to  an  easily  consulted  source.  This  applies  only 
to  reproductions  made  by  photographic  processes;  all  etchings. 


[ ix  D 


PREFACE 


wood-engravings,  etc.,  made  from  portraits  have  been  recorded. 

I am  indebted  to  Mr.  and  Mrs.  Joseph  Pennell  for  numerous 
courtesies  accorded  me  when  preparing  my  first  book  on  the  sub- 
ject; I have  also  frequently  had  occasion  to  refer  to  their  author- 
ized “Life” of  Whistler.  Whistler  was  almost  as  great  a person- 
ality as  he  was  an  artist,  and  he  was  fortunate  in  having  had  such 
a Boswell.  My  acknowledgments  are  due  to  Mr.  Charles  L.  Freer, 
who  has  presented  his  unrivalled  Whistler  collection  to  the  Na- 
tion, for  giving  me  information  concerning  several  items  in  his 
collection,  and  for  permitting  me  to  reproduce  a chalk  drawing 
of  Whistler  by  himself.  I am  equally  grateful  to  Mr.  Edward  G. 
Kennedy,  who  stood  to  Whistler  for  his  portrait,  which  is  now  in 
the  Metropolitan  Museum  of  Art,  and  who  prepared  the  magnifi- 
cent Grolier  Club  albums  of  reproductions  of  Whistler’s  etchings, 
for  giving  me  considerable  information  and  for  lending  me  for 
reproduction  three  portraits  of  Whistler  by  Boldini.  I am  likewise 
under  a debt  of  gratitude  to  Mr.  Howard  Mansfield,  author  of  an 
exhaustive  catalogue  of  Whistler’s  etchings,  for  calling  my  atten- 
tion to  a number  of  items  and  for  lending  me  portraits  for  repro- 
duction. It  is  a pleasure,  also,  to  acknowledge  the  assistance  given 
me,  when  preparing  my  first  book,  by  Mr.  Pickford  Waller  ( who 
sent  me  many  items,  including  a portrait  for  reproduction),  Mr. 
Elmer  Adler,  Mr.  Don  C.  Seitz,  the  late  Sir  Hugh  Lane,  Mr. 
Henry  Reinhardt,  and  Mrs.  Eugene  Meyer,  Jr.,  who  gave  me  in- 


C X J 


PREFACE 


formation  upon  certain  points  or  who  lent  me  portraits  or  carica- 
tures for  reproduction.  I also  wish  to  thank  Mr.  Walter  Sickert 
for  recently  writing  me  with  reference  to  his  portraits  of  Whistler, 
as  I do  Mr.  C.  L.  Rutherston,  who  sent  me  the  portrait  by  Wil- 
liam Rothenstein,  now  described  and  reproduced  for  the  first  time. 


Neiv  Tork^  July^  1918. 


A.  E.  G. 


THE  TOT^RAITS  OF  WHISTLER 


t 


THE  TOT<JRAITS  OF  WHISTLER 

I 

The  Interest  in  Physiognomy:  Carlyle’s  Opinion  as  to  the  Value  of  Portraits:  The  Dif- 
fculty  Posterity  will  have  in  determining  what  Whistler  looked  like:  The  Self-Por- 
traits of  various  Artists 

The  study  of  physiognomy  is  of  great  antiquity : Homer  was 
a student  of  the  science  of  discerning  the  character  of  the 
mind  from  the  features  of  the  face,  and  Aristotle  wrote  a treatise  on 
this  subject.  Albertus  Magnus  ( born  1 206 ) also  wrote  on  physiog- 
nomy, which  was  the  subject  of  a very  extensive  literature  in  the  six- 
teenth and  seventeenth  centuries, after  which  interest  in  it  declined. 
In  England  from  1 789  to  1 798  appeared  a translation  of  John  Caspar 
Lavater's  truly  monumental  work  on  the  subject;  his  “Essays  on 
Physiognomy  ” was  issued  in  five  royal  octavo  volumes,  with  some 
eight  hundred  engravings.  Darwin  published  his  “Expressions  of 
Emotions  ” in  1 8 72 , and  in  recenty  ears  has  appeared  the  well-known 
book  by  Lombroso  in  which  he  discusses  the  physical  character- 
istics of  criminals. 

Collections  of  portraits  of  distinguished  authors,  generals,  etc., 
have  been  issued  in  an  unceasing  flow;  noteworthy  among  works 
concerning  the  portraits  of  one  man  or  woman  are  R.T.  Holbrook’s 
exhaustive  book  on  the  portraits  of  Dante,  J.  J.  Foster’s  sumptuous 
volume  entitled  “ Concerning  the  True  Portraiture  of  Mary  Queen 
of  Scots,”  A.  M.  Broadley’s  “ Napoleon  in  Caricature,”  with  its  two 
hundred  and  fifty  illustrations,  and  C.  H.  Hart’s  catalogue  of  the 
engraved  portraits  of  Washington. 

A most  interesting  observation  on  the  value  of  portraits  to  the 

c 3 ] 


THE  PORTRAITS  OF  WHISTLER 


student  of  character  is  contained  in  Thomas  Carlyle’s  letter  to 
David  Laing,  printed  among  his  essays  under  the  title  of  “ Project 
of  a National  Exhibition  of  Scottish  Portraits,”  in  which  he  says 
that  “ often  I have  found  a portrait  superior  in  real  instruction  to 
half  a dozen  biographies.”  In  this  connection  it  is  not  uninteresting 
to  recall  that  Carlyle  himself  was  the  subject  of  one  of  the  great 
portraits  of  modern  times  — his  portrait  by  Whistler.  Further  on 
in  this  letter  Carlyle  says:  “ I am  accustomed  to  conceive  the  cata- 
logue, if  well  done,  as  one  of  the  best  parts  of  the  whole.” 

Carlyle’s  great  interest  in  this  subject  is  further  shown  by  his 
elaborate  essay  entitled  “The  Portraits  of  John  Knox,”  which 
covers  forty-six  octavo  pages  and  is  illustrated.  In  the  course  of 
this  essay  he  speaks  of  a book  by  Theodore  Beza,  which  was  pub- 
lished in  Geneva  in  1580,  entitled  “leones,  that  is  to  say,  true 
Portraits,  of  men  illustrious  in  the  Reformation  of  Religion  and 
Restoration  of  Learning;”  Carlyle  says  that  this  book  contains 
thirty-eight  icons  and  forty-three  empty  frames,  for  which  no  por- 
traits were  found. 

It  is  always  interesting  to  see  the  portrait  of  a great  man,  and 
thus  to  learn  something  of  his  appearance,  but  in  order  to  obtain  a 
really  correct  conception  of  his  features,  an  examination  of  a num- 
ber of  his  likenesses  is  highly  desirable.  This  is  particularly  true  of 
Whistler,  for  the  vast  number  of  portraits  of  him  that  were  painted, 
drawn,  and  etched  by  himself  and  by  his  contemporaries  contain 
most  striking  contrasts  in  the  way  he  saw  himself  and  was  seen 
by  different  artists.  In  fact  so  dissimilar  are  these  various  portraits 
that  future  generations  will  have  difficulty  in  determining  what  he 

c 4 ] 


THE  PORTRAITS  OF  WHISTLER 


really  looked  like.  Not  for  the  reason,  as  is  the  case  with  Correg- 
gio, that  no  portrait  of  him  exists,  but  on  the  contrary  that  the 
likenesses  are  so  numerous,  cover  such  a wide  range,  and  are  for 
the  most  part  so  different.  Moreover,  in  the  case  of  a subject  like 
Whistler,  in  which  the  extreme  animation  and  ever-changing  ex- 
pression counted  for  so  much,  no  portrait  could  possibly  be  wholly 
satisfactory. 

The  great  majority  of  the  master  artists  painted  their  own  por- 
traits; many  of  these,  as  is  well  known,  are  in  the  Uffizi  Gallery 
at  Florence.  Rembrandt  was  his  own  model  nearly  sixty  times,  not 
including  a long  series  of  etchings ; Diirer  and  Rubens  were  also 
quite  prolific  in  this  respect;  Van  Dyck  painted  some  thirteen  por- 
traits of  himself ; Vigee  Le  Brun  about  twenty ; and  so  it  goes.  The 
case  of  Correggio,  noted  above,  is  one  of  the  rare  exceptions ; an- 
other is  that  of  Leonardo  da  Vinci,  the  only  known  authentic  por- 
trait being  his  own  drawing  in  red  chalk,  which  he  executed  in  his 
old  age.  Whistler,  however,  was  not  one  of  these  exceptions:  in 
my  Iconography  are  listed  some  thirty  self-portraits, eight  of  them, 
including  two  attributions, being  in  oil.  It  is  a curious  state  of  affairs, 
by  the  way,  that  already  the  genuineness  of  two  of  these  latter 
portraits  should  be  questioned;  is  it  to  be  wondered  at,  then,  that 
the  labels  are  changed  so  often  in  the  case  of  the  Old  Masters.^ 


II 


The  Portraits  in  Oil  by  Himself 

Properly  enough,  six  of  the  eight  self-portraits  in  oil  by  the 
greatest  painter  America  has  produced  are  now  owned  in  the  United 


C 5 3 


e 


THE  PORTRAITS  OF  WHISTLER 

States,  which  is  not  to  be  wondered  at,  America  for  some  years 
having  been  the  principal  magnet  for  important  paintings  as  well 
as  for  other  works  of  art. 

The  earliest  of  the  portraits  of  himself  to  be  painted  by  Whistler 
is  that  entitled  “Whistler  in  the  Big  Hat''  (No.  i ).  This  soundly 
painted  canvas  belongs  to  the  year  1857  or  1858,  when  Whistler 
was  a student  in  Paris.  As  pointed  out  by  Mr.  and  Mrs.  Pennell 
in  their  “Life”  of  Whistler,  this  portrait  was  evidently  suggested 
by  Rembrandt's  “Young  Man,”  in  the  Louvre.  To  this  period 
belong  also  the  artist's  “La  Mere  Gerard,”  “Tete  de  Paysanne,” 
“ Head  of  an  Old  Man  Smoking,”  and  “ At  the  Piano,”  the  last  of 
which  is  the  most  important  of  Whistler's  paintings  executed  at 
this  time;  all  show  something  of  the  early  Rembrandt  influence, 
with  their  generous  use  of  pigment  and  their  dark  shadows. 

The  second  portrait  is  the  little  panel  painted  about  i860  enti- 
tled “Whistler  Smoking”  (No.  2).  This  likeness  was  brought  to 
light  in  Paris  in  the  spring  of  1913.  I viewed  it  in  company  with 
M.  Theodore  Duret,  the  distinguished  art  critic  and  author  of  a 
book  on  Whistler,  whose  portrait  by  Whistler  hangs  in  the  Met- 
ropolitan Museum  of  Art.  This  painting  was  reproduced  for  the 
first  time  in  my  Iconography  of  the  portraits  of  Whistler  ( 1913 ), 
and  afterwards  formed  the  frontispiece  to  the  English  edition  of 
M.  Duret 's  “Whistler.” 

There  is  considerable  doubt  regarding  the  authenticity  of  the 
next  of  the  portraits  (No.  3),  entitled  “Portrait  of  Whistler,” 
owned  by  Mr.  Freer.  For  my  part,  I am  rather  inclined  to  think 


C 6 ] 


THE  PORTRAITS  OF  WHISTLER 


the  picture  is  the  work  of  Walter  Greaves,  although  it  must  be 
admitted  that  artists  often  do  queer  things,  especially  before  they 
have  completely  developed  their  style.  Neither  M.  Duret  nor  Mr. 
Edward  G.  Kennedy  regard  the  painting  as  having  come  from 
Whistler’s  brush.  This  is  the  opinion  also  of  Mr.  and  Mrs.  Pennell, 
as  expressed  in  their  “Life”  of  Whistler;  their  argument,  that  this 
portrait  “ is  most  probably  not  genuine,”  owing  to  the  presence  of 
the  white  lock  of  hair,  which  they  claim  Whistler  did  not  possess 
when  a young  man,  is  refuted  by  Miss  Rosalind  Birnie  Philip,  who 
writes  me  that  Whistler  once  told  her  that  he  always  had  the  white 
lock.  The  Oriental  garment  which  he  wears  is  very  similar  to  that 
which  appears  in  his  portrait  painted  by  Fantin-Latour — the  head 
which  was  cut  from  a larger  canvas.  Mr.  Freer,  it  is  important  to 
note,  regards  this  picture  as  authentic  beyond  a doubt. 

“Whistler  in  Painting  Jacket”  (No.  4)  is  the  most  important 
of  the  portraits  Whistler  made  of  himself  and  ranks  very  high 
among  his  pictures  of  this  description.  “Scarce  a portrait  outside 
the  work  of  Velasquez,  Titian  or  Rembrandt,”  wrote  Mr.  R.  A.  M. 
Stevenson,  the  critic, “is  placed  on  the  canvas  with  the  simple  tell- 
ing effect  of  this  one.”  Mr.  and  Mrs.  Pennell  in  their  “Life”  of 
Whistler  quote  from  the  diary  of  W.  M.  Rossetti,  under  the  date 
5 February,  1867,  in  which  Rossetti  records  a visit  to  Whistler’s 
house ; he  speaks  of  “ a clever  vivacious  portrait  of  himself  begun.” 
Mr.  and  Mrs.  Pennell  add  that  “no  doubt  this  is  the  portrait  in 
round  hat,  with  paint-brushes  in  his  hand.”  Later  on  in  the  same 
book  occurs  this  statement,  under  date  of  1894:  “He  was  also 


THE  PORTRAITS  OF  WHISTLER 


painting  his  own  portrait  in  the  white  jacket,  which  was  changed 
into  a black  coat  after  Mrs.  Whistler’s  death.”  Doubtless  this 
means  that  he  was  re-painting  this  portrait. 

There  are  two  versions  of  the  painting  known  as  “ Whistler  in 
his  Studio”  (Nos.  5 and  6).  The  earlier  version,  which  is  in  the 
Municipal  Art  Gallery  of  Dublin,  Mr.  Pennell  states  very  posi- 
tively was  repudiated  by  Whistler.  The  late  Sir  Hugh  Lane,  the 
curator  of  the  gallery,  who  presented  the  picture,  together  with 
one  of  the  finest  collections  of  French  impressionist  art  outside  of 
France,  held  a very  different  opinion.  The  following  is  a portion 
of  a letter  he  wrote  me  covering  his  side  of  the  controversy:  “The 
picture  we  have  in  Dublin  of  Whistler  in  his  studio  is  quite  well 
known  to  various  neighbours  of  mine  here  [[Chelsea]  in  the  ar- 
tist’s lifetime.  I am  told  on  the  best  authority  that  he  was  asked  to 
sell  this  picture  and  that  he  refused,  saying  that  he  liked  it  as  a 
sketch,  and  eventually  painted  Mr.  Freshfield’s  picture  [[this  pic- 
ture is  now  owned  by  the  Art  Institute  of  Chicago]  from  it.  It  was 
exhibited  at  the  Whistler  Memorial  Exhibition  in  London  with 
Mr.  Freshfield’s  more  important  painting.  It  has  also  recently  been 
exhibited  at  the  Tate  Gallery  among  many  fine  examples  of  the 
painter’s  work.  It  is  much  lower  in  tone  and  more  broadly  painted 
than  Mr.  Freshfield’s  picture,  and  the  faces  of  the  two  female 
models  are  only  sketched  in.  I understand  that  this  picture  with 
many  others  was  seized  for  debt  and  sold  by  auction,  and  after- 
wards exhibited  with  other  unfinished  works,  which  caused  a law- 
suit between  Whistler  and  the  firm  of  dealers  who  exhibited  them.” 
It  is  important,  as  bearing  on  the  case,  to  note  that  Whistler  only 

C 8 ] 


THE  PORTRAITS  OF  WHISTLER 


on  the  rarest  occasions  ever  repeated  a picture.  His  own  views 
on  the  subject  were  most  vigorously  expressed  in  a letter  that  he 
wrote  to  Way,  the  printer  of  his  lithographs : “ The  portrait  is  dam- 
nable ! I don't  mean  the  printing,  which  is  even  as  good  as  the  thing 
to  be  printed  was  bad ; and  that  is  saying  a lot.  . . . Now  wipe  off 
the  stone  at  once.  ...  It  is  neither  for  catalogue  nor  posterity,  and 
is  the  folly  of  proposing  to  produce  the  same  masterpiece  twice 
over.  Why  should  one.^  Ridiculous!"  This  was  with  reference  to 
one  of  the  three  lithographs  which  he  made  from  his  painting  of 
Comte  Robert  de  Montesquieu.  Two  of  Whistler’s  paintings,  both 
shown  at  the  Paris  Memorial  Exhibition,  and  reproduced  in  the 
album  of  his  paintings  published  in  Paris  at  the  time,  are  very 
similar;  I refer  to  “ L’Andalouse"  and  “Rose  et  Or.  La  Tulipe;’’ 
the  latter  painting,  which  is  unfinished,  is  evidently  a study  for  the 
former.  There  is  a study  in  oils  for  the  portrait  of  F.  R.  Leyland 
and  one  of  the  head  and  shoulders  of  Cicely  H.  Alexander,  which 
was  made  for  her  famous  portrait.  Many  pen  and  ink  drawings  and 
sepia  drawings,  studies  for  portraits,  also  exist.  There  are  also  two 
dry-points  which  he  made  after  his  portrait  of  Sir  Henry  Irving  as 
Philip  II.  These  are  the  only  instances  that  I can  recall  of  Whis- 
tler repeating  himself. 

'It  is  interesting  to  note  that  in  a letter  written  to  Fantin-Latour 
Whistler  stated  that  this  picture  of  himself  in  his  studio  was  a study 
for  a large  picture,  which  was  to  be  similar  to  Fantin’s  painting 
“Hommage  a Delacroix.”  In  it  he  proposed  including  portraits  of 
Fantin,  Albert  Moore,  himself,  the  “White  Girl,”  and  la  Japo- 
naise.  The  picture,  however,  was  never  painted. 

[ 9 ] 


THE  PORTRAITS  OF  WHISTLER 


“Brown  and  Gold”  (No.  7)  has  been  thus  described  by  M. 
Leonce  Benedite,  the  curator  of  the  Luxembourg  Museum:  “In 
the  warm  penumbra  of  its  harmony,  ‘ brown  and  gold,'  he  breathes 
the  inner  contentment  of  the  satisfied  artist.  One  feels  that  it  is 
painted  in  a state  of  happiness,  following  the  return  of  approval,  so 
unjustly  withheld  from  him  in  England,  and  painted  in  the  years 
after  his  marriage;  we  can  call  it  the  portrait  of  the  true  Whistler.” 

The  other  portrait  also  known  as  “Brown  and  Gold”  (No.  8) 
was  rubbed  down  by  Whistler  and  nearly  destroyed.  Mr.  and  Mrs. 
Pennell  state  in  their  “ Life  ” of  Whistler  that  it  was  far  from  a suc- 
cess. It  was  never  photographed  or  engraved;  a clue  to  it  is  pre- 
served in  a pen  and  ink  drawing  by  Whistler  of  the  upper  portion, 
owned  by  Mr.  Pennell. 

According  to  the  catalogue  of  the  Whistler  Memorial  Exhibi- 
tion held  in  London  in  1905,  there  is  a portrait  of  Whistler  in  the 
painting  by  him  entitled  “ Cremorne  Gardens,  No.  2.”  This  paint- 
ing, which  is  twenty-five  inches  in  height  by  fifty-one  in  width, 
was  formerly  owned  by  Thomas  Way,  and  is  now  the  property  of 
the  Metropolitan  Museum  of  Art,  New  York.  The  figure  spoken 
of  in  this  picture  as  being  Whistler  is  seen  at  the  right  of  the  can- 
vas, seated  at  a table  with  several  other  people.  Apparently  it  is  in- 
tended to  be  the  artist,  but  as  the  face  is  not  even  indicated,  I have 
not  seen  how  this  figure  could  properly  be  catalogued  as  a “ por- 
trait.” Mr.  Pennell  informs  me  that  the  features  were  removed 
when  the  picture  was  cleaned. 

Two  or  three  other  portraits  of  Whistler  painted  by  himself 
are  owned  by  a lady  residing  in  London.  She  does  not  wish,  how- 

c 10  ] 


THE  PORTRAITS  OF  WHISTLER 


ever,  to  have  them  catalogued  or  her  name  mentioned.  They  are 
unfinished, 

III 

The  Other  Portraits  by  Himself 

The  following  passage  occurs  in  Mr.  T.  R.  Way’s  book  entitled 
“ Memories  of  James  McNeill  Whistler:  ” “ Once  I questioned  him 
as  to  the  authenticity  of  a black  and  white  portrait  of  himself,  on 
brown  paper,  which  my  father  had  bought  from  him,  and  after- 
wards fancied  was  by  some  other  artist.  The  reply  was  amusing: 
it  was  to  the  effect  that  he  was  not  in  the  habit  of  collecting  the 
works  of  his  contemporaries,  but  that  at  one  period  of  his  life  he 
had  made  a practice  of  drawing  his  own  portrait  each  night  before 
going  to  bed,  and  that,  doubtless,  this  was  one  such.”  I have  been 
able  to  trace  quite  a number  of  portraits  of  this  character:  three 
drawings  in  black  and  white  chalk,  six  drawings  in  pen  and  ink, 
eight  pencil  drawings,  four  etched  portraits,  and  three  dry-points. 
All  of  these,  of  course,  claim  our  interest. 

There  is  a difference  of  opinion  regarding  the  identity  of  the 
artist  seen  sketching  in  the  etching  known  as  “The  Title  to  the 
French  Set.”  Both  Ralph  Thomas  and  Wedmore  in  their  cata- 
logues of  Whistler’s  etchings  state  that  the  artist  is  Whistler.  Mr. 
and  Mrs.  Pennell  in  their  “Life”  of  Whistler  say  that  “there 
was  an  etched  title  with  his  portrait,  for  which  Ernest  [[DelannoyJ 
putting  on  the  big  hat,  sat.”  Mr.  Howard  Mansfield,  however,  in 
his  catalogue  of  Whistler’s  etchings  contends  that  the  subject  of 
the  portrait  is  Delannoy  and  not  Whistler.  Mr,  and  Mrs.  Pennell’s 

c 11  ] 


THE  PORTRAITS  OF  WHISTLER 


explanation  is  undoubtedly  correct,  and  I feel  that  it  is  quite  proper 
to  regard  this  as  being  a portrait  of  Whistler. 

There  is  a similar  difference  of  opinion  regarding  the  artist  seen 
sketching  in  the  etching  entitled  “The  Little  Pool”  ( Wedmore 
72,  Mansfield  73,  Kennedy  74).  In  this  plate  an  artist  is  seen 
seated  on  a bulkhead  above  the  Thames,  with  barges  in  the  river 
below ; it  measures  four  inches  in  height  by  four  and  seven-eighths 
in  width,  and  is  signed  “ Whistler  1861.”  There  are  eight  states  of 
this  etching,  containing  many  important  variations ; certain  of  them 
contain  one  other  figure  besides  that  of  the  artist,  others  of  them 
two.  Wedmore  speaks  of  the  figure  seen  sketching  as  “an  artist,” 
while  Mansfield  and  Kennedy  state  that  it  is  Percy  Thomas.  Mr. 
and  Mrs.  Pennell  in  their“Life”of  Whistler  say  it  is  Whistler:  for 
my  part,  I do  not  regard  it  as  such  and  have  not  recorded  it. 

I suppose  a very  conscientious  recorder  would  make  mention 
of  the  symbolic  portrait  of  Whistler  which  appeared  in  his  cele- 
brated Peacock  Room.  One  will  recall  that  after  Whistler  quar- 
relled with  Leyland — and  one’s  sympathies  are  entirely  with  Ley- 
land — Whistler  introduced  two  angry  peacocks  into  one  of  the 
panels,  symbolizing  himself  and  his  patron.  The  Peacock  Room  is 
now  owned  by  Mr.  Freer. 


IV 

The  Portraits  in  Oil  by  Boxall^  Fantin-Latour^  Greaves,  Way,  Chase,  Sickert,  Boldini, 
and  Menpes 

Portraits  of  the  youthful  Whistler  are  found  in  the  crayon  min- 
iature executed  in  1841,  in  which  his  brother  also  appears,  Whis- 


C '2  3 


THE  PORTRAITS  OF  WHISTLER 


tier  at  this  time  being  seven  years  old,  and  in  the  portrait  by  Sir 
William  Boxall,  painted  when  Whistler  was  a boy  of  fourteen. 
Boxall,  it  will  be  recalled,  was  the  painter  who  in  1872  threatened 
to  resign  from  the  Council  of  the  Royal  Academy  if  Whistler’s 
famous  portrait  of  his  mother  was  refused,  and  who  carried  his 
point,  even  if  the  picture  was  very  badly  hung. 

The  two  portraits  by  Fantin-Latour  were  both  figures  in  groups. 
The  earlier  in  point  of  time  is  in  the  artist’s  superb  and  well-known 
“ Hommage  a Delacroix;”  the  other  was  in  a painting  exhibited  at 
the  Salon  of  1865  entitled  “Hommage  a la  Verite — le  Toast.”  The 
latter  painting  was  subsequently  destroyed  by  the  artist,  but  not 
before  the  head  of  Whistler,  as  well  as  those  of  Vollin  and  Fantin, 
had  been  cut  out.  It  is  recorded  that  the  late  Samuel  P.  Avery  of 
New  York  asked  Fantin  for  a copy  of  the  head  of  Whistler  in  this 
painting,  but  that  instead  of  doing  this  he  sent  him  the  head  itself, 
explaining  that  he  had  destroyed  the  canvas  as  he  (Fantin)  was 
too  prominent  in  the  group  {^vide  a memorandum  to  this  effect  in 
Avery’s  writing  in  the  Print  Department  of  the  New  York  Pub- 
lic Library).  Both  of  these  portraits  are  beautifully  painted  and  they 
give  an  excellent  idea  of  Whistler’s  appearance  at  this  time. 

The  list  of  portraits  by  Walter  Greaves  is  very  long,  and  it  is 
difficult  to  determine  their  true  status.  Greaves  was  a neighbour 
and  an  intimate  friend  of  Whistler  in  the  early  days  at  Chelsea. 
After  becoming  acquainted  with  Whistler  and  with  his  paintings, 
Greaves  became  profoundly  influenced  by  him,  and  in  fact  from 
that  time  on  described  himself  as  a pupil  of  Whistler.  Greaves  was 
a painter  possessing  real  merits,  and  several  of  his  portraits  of 

c 13  ] 


THE  PORTRAITS  OF  WHISTLER 


Whistler  are  very  passable  performances.  Unfortunately, however, 
after  Whistler’s  death  Greaves  fell  into  the  hands  of  one  or  two 
obscure  dealers  who  commissioned  him  to  turn  out  paintings  and 
drawings  of  Whistler  in  an  unceasing  stream.  Many  of  these  were 
executed,  I believe,  expressly  for  the  “jolly  Americans.  ” Mr.  Wil- 
liam Marchant  practically  introduced  Walter  Greaves  to  the  pub- 
lic, when  in  the  spring  of  191 1 he  held  an  exhibition  of  his  paint- 
ings at  the  Goupil Gallery  in  London.  This  exhibition  was  repeated 
the  following  January  at  a gallery  in  New  York ; for  the  catalogue 
Mr.  Christian  Brinton  wrote  a sympathetic  biographical  and  criti- 
cal essay. 

The  painting  byThomas  R.  Way  shows  Whistler  at  work  print- 
ing the  etchings  which  he  made  in  Venice.  The  scene  is  a room 
in  Air  Street,  Regent  Street,  London,  which  was  taken  for  him  by 
the  Fine  Art  Society  in  1880.  Thomas  Way,  the  artist’s  father, 
who  printed  practically  all  of  Whistler’s  lithographs,  is  seen  at  the 
left  of  the  canvas.  This  little  painting  is  a capital  piece  of  work  and 
the  figure  of  Whistler  is  full  of  strong  characterization. 

William  M.  Chase’s  portrait  of  Whistler  did  not  please  Whis- 
tler at  all;  in  his  “Gentle  Art  of  Making  Enemies”  he  wrote; 
“How  dared  he  do  this  wicked  thing.”  The  portrait,  however,  is 
an  excellent  piece  of  work.  It  is  thus  described  in  Miss  Katharine 
M.  Roof’s  “The  Life  and  Art  of  William  Merritt  Chase: ’’“Among 
his  finest  portraits  of  men  are  those  of  . . . And,  last  and  most 
brilliant  of  all,  his  portrait  of  Whistler.  In  this  memorial  canvas 
the  figure  stands  a dark  silhouette  against  an  atmospheric  golden- 
brown  tone.  Quiet,  elusive,  insidious  in  treatment,  it  conveys  the 

C 14  ] 


THE  PORTRAITS  OF  WHISTLER 


very  essence  of  the  man  — fantastic,  diabolic,  egotistic,  malicious, 
yet  holding  unmistakably  the  light  intangible  quality  of  genius.  It 
is  even  touched  with  the  very  art  personality  of  the  subject — an 
added  subtlety  on  the  part  of  the  painter,  for  though  the  manner 
recalls  Whistler,  the  canvas  as  it  stands  is  unmistakably  a Chase, 
not  a Whistler.” 

The  portrait  by  Walter  Sickert  I never  have  seen;  the  notes 
concerning  it  were  sent  me  by  Mr.  Sickert.  The  portrait  and  two 
sketches  in  oil  by  Mortimer  Menpes,  who  made  many  dry-point 
and  other  portraits  of  Whistler,  also  claim  our  attention.  The  por- 
trait by  Boldini  is  a very  striking  and  living  likeness — of  Whistler 
in  one  of  his  worst  moods. 


V 

The  Draxvings^  etc.^  by  duMaurier^  Fantin-Latour^  Poynter^  Alexander^  May^  Rajon^ 
Cuneo^  Haden^  Helleu^  Boldini^  Menpes^  Nicholson^  Haskell^  Greiffenhagen^  Starr^ 
Edwards^  Sickert,  Way,  and  Rothenstein 

Many  of  the  well-known  artists  of  the  day  executed  portraits  of 
Whistler,  and  in  a great  variety  of  mediums.  Particular  interest 
attaches  to  the  seven  pen  and  ink  drawings  by  George  du  Maurier: 
the  three  portraits  which  are  to  be  found  among  his  illustrations 
for  “Trilby”  (one  of  them,  with  a description,  was  not  reprinted 
from  Harper  s Magazine  owing  to  Whistler  having  taken  excep- 
tion to  it)  are  very  delightful  souvenirs  of  du  Maurier ’s  and 
Whistler’s  student  days  together  in  Paris.  In  “ T rilby  ” as  originally 
published,  Whistler  masqueraded  under  the  name  of  “ Joe  Sib- 
ley;” when  issued  in  book  form  he  became  “Antony.”  I have  in 

C 15  ] 


THE  PORTRAITS  OF  WHISTLER 


my  possession  du  Manner’s  letter  to  his  London  publishers  re- 
garding the  changes  to  be  made.  He  writes,  in  part,  as  follows; 
“I  send  you  the  modified  pages  from  ‘Trilby,’  Harper’s  Mag. 
pages  577-8-9-80  from  March  number,  and  723-4  from  April 
ditto.  I have  taken  out  all  that  can  have  any  possible  offensive 
reference  to  Mr.  Whistler — and  changed  Joe  Sibley  the  painter 
into  Joe  Dibley  the  soap-boiler.  This  change  of  -Sibley  into  Dibley 
to  be  carried  out  throughout  the  whole  story,  of  course.  This  will 
not  in  any  way  affect  the  story.”  I also  possess  the  corrected  pages 
sent  by  du  Maurier — the  alterations  are,  however,  quite  different 
from  those  finally  decided  upon. 

The  little  sketch  in  pen  and  ink  by  Fantin-Latour  is  also  worthy 
of  being  singled  out  for  mention.  I am  inclined  to  doubt  the  authen- 
ticity of  the  pastel  drawing  which  is  attributed  to  him ; the  faulty 
draughtsmanship  of  this  drawing,  which  is  tinged  with  caricature, 
makes  one  regard  it  with  a certain  amount  of  suspicion.  The  pose 
and  the  surroundings,  it  may  be  noted,  were  evidently  copied  from 
the  portrait  of  Whistler  in  Fantin’s  painting  “Hommage  a Dela- 
croix.” 

Interesting  as  documents  are  the  early  drawings  of  Whistler  by 
Sir  Edward  J.  Poynter,  the  charcoal  drawing  by  John  W.  Alex- 
ander, which  was  autographed  by  Whistler,  the  pen  and  ink  draw- 
ings by  Phil  May,  who  was  a most  expressive  draughtsman,  the 
charcoal  portrait  by  Paul  Rajon,  and  the  four  drawings  by  Cyrus 
Cuneo.  These  drawings  of  Cuneo’s  were  made  from  sketches 
executed  at  the  short-lived  Whistler  Academy  in  Paris. 

Being  the  work  of  one  of  the  most  highly  esteemed  of  con- 

C >6  ] 


THE  PORTRAITS  OF  WHISTLER 


temporary  etchers,  and  his  subject’s  brother-in-law,  Sir  Seymour 
Haden’s  portrait  of  Whistler  possesses  considerable  interest.  It  is 
a very  spirited  little  drawing,  and  evidently  gives  us  a good  idea 
of  how  Whistler  looked  in  his  earlier  years.  The  inscription  on  it 
was  written  by  Delatre,  the  famous  printer  of  etchings,  to  whom 
Whistler  entrusted  the  printing  of  a number  of  his  early  plates,  and 
of  whom  he  etched  a portrait. 

Paul  Helleu  made  two  dry-point  portraits  of  Whistler.  One  of 
them,  a half-length,  seated,  which  was  done  at  the  time  Boldini 
was  painting  Whistler’s  portrait  ( 1897 ),  and  in  pose  is  almost  iden- 
tical with  it,  is  an  excellent  sketch.  The  other  portrait  was  not  a 
great  success.  With  the  exception  of  a dry-point  Helleu  made  of 
Edmond  de  Goncourt,  I believe  these  are  the  only  portraits  of  a 
man  that  he  ever  made.  It  is  to  be  regretted  that  Helleu  did  not 
essay  a portrait  with  the  trois  crayons,  for  these  examples  of  his 
work  are  less  superficial  than  the  dry-points;  on  rare  occasions, 
indeed,  in  charm  and  grace  they  suggest  the  work  of  a twentieth- 
century  Watteau. 

Very  significant,  being  life-like  portraits  and  masterfully  drawn, 
are  the  two  dry-points  and  the  sketch  in  pencil  by  Boldini.  The 
dry-point  that  shows  Whistler  asleep  was  sketched  on  the  copper 
after  the  last  pose  for  the  full-length  portrait  which  is  now  in  the 
Brooklyn  Institute  of  Arts  and  Sciences,  and  from  which  the  other 
dry-point,  which  exists  in  only  one  impression,  was  made.  It  was 
done  immediately  after  dejeuner,  when  it  was  always  Whistler’s 
custom  to  indulge  in  a nap;  it  is  interesting  to  compare  it  with  the 
drawing  made  by  Sir  Edward  J.  Poynter  in  1856,  which  also  shows 


c 17 : 


THE  PORTRAITS  OF  WHISTLER 


the  artist  dozing.  Mr.  Edward  G.  Kennedy,  who  was  present  in 
Boldini’s  studio  when  this  dry-point  of  Boldini’s  was  made,  has 
given  me  some  interesting  details  concerning  it;  when  Whistler 
“ settled  back  for  slumber  on  Boldini’s  sofa,  his  back  to  the  win- 
dow, Boldini  seized  a ‘point’  and  a plate,  which  were  on  the  table 
among  other  things,  and  in  fifteen  minutes  or  so,  the  extraordinary 
dry-point  was  the  result.  It  is  remarkable  that  it  is  absolutely  like 
Whistler  as  he  reclined  there,  his  back  supported  by  cushions 
and  his  feet  on  the  floor;  also, that  a work  on  copper  should  be 
completed  so  rapidly  and  with  such  astonishing  precision.  That  was 
Whistler’s  last  sitting  to  Boldini,  as  he  took  a mild  dislike  to  that 
painter;  why,  he  did  not  say,  but  possibly  because  the  painted  por- 
trait was  so  extraordinarily,  so  startlingly,  like  him.  He  always 
wanted  to  be  depicted  as  over  six  feet  high  and  to  look  like  a 
Major-General.” 

The  long  series  of  dry-points  by  Mortimer  Menpes  contain 
plates  which  are  frequently  amusing  as  well  as  being  of  value  as 
likenesses ; several,  however,  are  in  rather  questionable  taste.  The 
water-colour  sketch  by  Menpes  which  has  been  reproduced  is  very 
well  executed.  The  wood-cut  by  William  Nicholson  is  very  fine 
and  was  one  of  Whistler’s  favourite  portraits  of  himself.  Excellent, 
also,  is  Ernest  Haskell’s  charcoal  drawing,  which  I have  repro- 
duced. Mr.  Haskell  informs  me  that  he  made  this  drawing  in  1 898, 
from  memory,  on  the  same  day  that  he  visited  the  Louvre  with 
Whistler. 

Of  interest,  also,  are  the  drawings  by  Maurice  Greiffenhagen 
and  Sidney  Starr  ( which  was  worked  on  by  Whistler),  as  are  the 

[ 18  ] 


THE  PORTRAITS  OF  WHISTLER 


etchings  by  Edwin  Edwards  and  Walter  Sickert.  The  same  is  true 
of  the  chalk  drawing  by  Thomas  R.  Way  and  his  lithograph, a bust 
portrait,  as  well  as  his  lithograph  which  was  worked  on  by  Whistler. 
The  drawing  by  Will  Rothenstein  is  also  of  interest. 

VI 

The  Caricatures:  Keene^  Beardsley  A''  Spy  A MaxT  Samhourne^  Partridge^ 

Furniss^  Reed^  May^  Pennington^  Crane^  Menpes^  Haskell^  and  Simpson 

Whistler,  with  his  eccentric  clothes,  his  “ white  lock,”  his  French 
top  hat,  and  his  wand-like  walking-stick  constantly  invited  atten- 
tention  from  the  caricaturists : files  of  the  English  illustrated  papers 
of  his  period  contain  almost  numberless  caricatures  of  him — many 
of  them  very  ill-natured  and  offensive. 

Judged  as  a work  of  art,  the  caricature  of  Whistler  as  Mr.  Punch, 
delivering  the  famous  “ Ten  O’clock  ” lecture  on  art,  carries  off  the 
palm  among  the  caricatures.  It  is  brilliant  both  in  conception  and 
in  execution ; Whistler  was  an  ardent  admirer  of  Keene’s  genius 
and  regarded  him  as  the  greatest  artist  since  Hogarth  that  Eng- 
land has  produced.  This  caricature  is  very  different  in  character 
from  the  many  others  which  appeared  in  Punch  during  the  sev- 
enties and  eighties,  most  of  them  being  in  very  poor  taste.  The 
other  caricature  by  Keene  is  a slight  sketch. 

The  two  caricatures  by  Aubrey  Beardsley  are  disappointing. 
Beardsley  ranks  as  one  of  the  greatest  masters  of  black  and  white 
the  world  has  known,  but  caricaturing  was  scarcely  his  forte. 
“Spy’s”  lithograph  entitled  “A  Symphony,”  which  was  published 
in  Vanity  Fair,  is  quite  diverting;  the  caricature  by  him  owned  by 

C 19  3 


THE  PORTRAITS  OF  WHISTLER 


the  New  York  Public  Library  is  devoid  of  merit,  “Spy"  was  the 
former  pseudonym  of  Leslie  Ward,  painter  and  sculptor,  who  was 
knighted  in  1918. 

Only  second  in  interest  to  the  pen  and  ink  drawing  by  Charles 
Keene  referred  to  above  is  the  dry-point  by  Carlo  Pellegrini,  who 
signed  his  work  “Ape."  Although  termed  a caricature,  this  dry- 
point  is  an  excellent  portrait  and  one  strong  in  characterization; 
the  peculiarities  of  the  subject  have  been  but  very  slightly  exag- 
gerated. But  for  that  matter,  why  should  not  a caricature  be  as 
good  a counterfeit  of  the  man  as  a portrait,  for  is  not  the  most  reli- 
able history  of  a nation  written  by  her  satirists  and  her  caricatur- 
ists A file  of  Punch  is  a unique  history  of  England;  nowhere  else 
can  the  historian  find  such  a reliable  record  of  her  social  structure, 
her  manners,  her  customs,  and  her  political  life.  In  many  cases  it 
has  been  a toss-up  whether  to  classify  a certain  picture  as  a por- 
trait or  as  a caricature ; certainly  the  Pellegrini  dry-point  is  a far 
more  important  likeness  than  many  of  the  so-called  “portraits." 
We  must  remember,  too,  that  Whistler  himself,  as  he  chose  the 
world  to  know  him,  was  a caricature  of  himself.  It  is  worth  while 
to  note  here  that  the  impression  of  this  print  owned  by  the  Met- 
ropolitan Museum  of  Art  ( it  is  from  the  H.  B.  Dick  collection ) was 
printed  by  Whistler,  and  bears  his  “butterfly"  in  pencil. 

The  caricatures  by  Max  Beerbohm  are  very  engaging  and 
witty.  It  is  as  “Max"  that  Mr.  Beerbohm  has  courted  and  won 
enduring  fame  in  both  the  fields  of  literature  and  caricature.  No 
English  essayist  is  more  a master  of  distinguished  style  than  he, 
none  excel  him  in  grace  of  expression  or  in  wit  or  charm — not 


[ 20  ] 


THE  PORTRAITS  OF  WHISTLER 


even  Lamb  or  R.  L.  S. ; and  these  same  qualities  we  find  in  his  cari- 
catures. In  one  of  his  uncollected  essays  “ Max”  has  said  that  the 
true  caricature  is  that  which  “ with  the  simplest  means  most  accu- 
rately exaggerates  to  the  highest  point  the  peculiarities  of  a human 
being,  at  his  most  characteristic  moment,  in  the  most  beautiful  man- 
ner.” This  is  the  precept  that  he  himself  has  followed. 

Whistler  was  twice  caricatured  on  the  London  stage:  the  first 
time  in  a play  entitled  “The  Grasshopper,”  which  was  produced 
at  the  Gaiety  Theatre  in  1878,  the  second  time  in  a burlesque  of 
“ Trilby.”  A caricature  of  Whistler,  a large  painting,  was  executed 
by  “Ape”  and  used  as  a property  in  “The  Grasshopper.” 

Also  worthy  the  attention  of  the  collector  are  the  caricatures 
by  Linley  Sambourne,  J.  Bernard  Partridge,  Harry  Furniss,E.T. 
Reed,  Phil  May,  Harper  Pennington,  Walter  Crane,  Ernest  Has- 
kell, and  Joseph  Simpson. 


VII 

The  Plastic  Portraits:  The  Photographs : Literature 

The  bust  of  Whistler  by  Sir  J.  Edgar  Boehm,  R.  A.,  and  the  plaque 
by  Rodin  are  the  only  plastic  portraits  possessing  any  importance. 
Thomas  R.  Way  tells  us  in  his  book  entitled  “ Memories  of  James 
McNeill  Whistler”  that  the  terra-cotta  bust  by  Boehm  was  once 
owned  by  Whistler  and  was  in  the  drawing-room  of  the  White 
House  at  Chelsea.  Mr.  Way  says  that  as  far  as  he  can  recall  it  was 
the  only  work  by  a living  artist  that  he  ever  saw  in  Whistler's 
rooms. 

Shortly  after  Whistler’s  death  in  1903,  Rodin  was  commissioned 

[ 21  ] 


THE  PORTRAITS  OF  WHISTLER 


to  execute  a monument  to  his  memory,  which  was  to  have  been 
erected  at  Chelsea,  the  part  of  London  where  Whistler  lived  for 
many  years  and  which  he  often  immortalized  in  his  works.  Unfor- 
tunately the  monument  was  still  in  an  unfinished  condition  at  the 
time  of  Rodin's  death  in  1917;  it  is  planned,  however,  to  com- 
plete the  memorial  and  eventually  to  set  it  up  at  Chelsea.  A part  of 
the  composition,  a rather  ungainly  figure  entitled  “ Muse,"  which 
was  modelled  in  1906,  is  reproduced  in  Gustave Coquiot’s“  Rodin" 
(Paris,  1915).  A portrait  of  Whistler,  in  the  form  of  a plaque,  was 
modelled  for  this  monument  and  will  form  a part  of  it. 

Regarded  as  documents,  of  course  all  of  the  many  photographs 
and  snap-shots  of  Whistler  are  of  value.  Particularly  interesting 
are  the  three  photographs  by  Dornac,  showing  Whistler  in  his 
Paris  studio. 

The  written  descriptions  of  Whistler’s  appearance  are  innumer- 
able: I have  endeavoured  to  select  a few  of  the  most  graphic  ones. 
None  of  them  is  better  than  that  written  by  Mr.  Arthur  Symons, 
a master  of  style  and  one  of  England’s  greatest  critics  of  the  arts. 


[ 22  ] 


ICO^G%A^HT 


I 


t 


V. 


I 


No.  2 


IC01^G%A^Hr 

THE  MEASUREMENTS  ARE  GIVEN  IN  INCHES.  THE  WORDS  “RIGHT” 

AND  “left”  refer  TO  THE  RIGHT  AND  LEFT  OF  THE  SPECTATOR 

I 

The  Portraits  by  Himself 
(iz)  Paintings 

1.  WHISTLER  IN  THE  BIG  HAT 

Head  and  shoulders ; face,  seen  in  three-quarters,  is  turned  to  left. 
Over  the  artist's  hair  reposes  a large,  round,  black  hat.  His  coat  is 
brown;  the  background  is  dark. 

Signed  Whistler,  in  lower  left-hand  corner. 

Oil,  on  canvas. 

Painted  in  1857  or  1858. 

Height,  19  Width,  15^  . 

Property  of  National  Gallery  of  Art,  Washington,  D.  C.  (Charles  L.  Freer  collection) . 

Presented  by  Whistler  to  Ernest  Delannoy.  Bought  by  Samuel  P.  Avery  from  Henri 
Valentin  in  1871.  Bought  by  Charles  L.  Freer  from  Samuel  P.  Avery.  Shown  at  the  Bos- 
ton Memorial  Exhibition.,  1904;  number  55.  Shown  at  the  Paris  Memorial  Exhibition., 
1905;  number  1. 

Reproduced. 

2.  WHISTLER  SMOKING 

Head  and  shoulders;  face,  seen  in  three-quarters,  is  turned  to  left. 
A straw  hat,  about  which  is  a grey  ribbon,  is  perched  upon  the 
artist’s  long,  black,  curly  hair.  He  wears  a black  coat,  and  about 
his  neck  is  a loose  black  scarf  with  white  spots.  In  his  right  hand, 
which  is  just  indicated,  he  holds  a cigarette;  smoke  issues  from  his 
mouth.  The  background  is  a dark  neutral  colour. 

[ 25  ] 


THE  PORTRAITS  OF  WHISTLER 


Signed  Whistler,  in  lower  right-hand  corner,  in  red. 

Oil,  on  wood  panel. 

Painted  about  1860. 

Height,  10^  . Width,  7^  . 

Property  of  H.  R.  Ickelheimer,  New  York. 

Bought  by  Jacques  Sdigmann^  Paris  picture-dealer^  from  a French  family  in  1913. 
Bought  by  Henry  Reinhardt^  Paris  picture-dealer^  from  Seligmann  in  1913.  Bought 
by  Mr.  Ickelheimer  from  Reinhardt  in  1913. 

Reproduced. 

3.  PORTRAIT  OF  WHISTLER  (attributed  to  Whistler) 
Half-length.  The  artist,  whose  head  is  seen  almost  in  profile,  fac- 
ing toward  the  right,  wears  a loose  black  coat  and  a low  white 
collar.  On  his  head  is  a round  black  hat.  A study. 

Not  signed. 

Oil,  on  canvas. 

Painted  about  1867. 

Height,  28.  Width,  22. 

Property  of  National  Gallery  of  Art,  Washington,  D.C.  (Charles  L.  Freer  collection) . 

Shown  at  the  Whistler  exhibition  held  at  the  Metropolitan  Museum  of  Art.,  New  York., 
in  1910. 

Reproduced. 

4.  WHISTLER  IN  PAINTING  JACKET 

Half-length;  face,  seen  in  three-quarters,  is  turned  to  left.  The 
artist  wears  a grey  painting  jacket  and  a round  black  hat;  in  his 
left  hand  he  holds  three  paint-brushes. 

Signed  with  “butterfly,”  at  left  of  canvas,  below  centre.  A “but- 
terfly” has  also  been  placed  on  the  frame. 

Oil,  on  canvas. 

It  is  believed  that  this  picture  was  started  about  1867  and  finished  at  a later  date. 

C 26  ] 


ICONOGRAPHY 


Height  29%.  Width,  21. 

Property  of  Harry  Glover  Stevens,  Detroit,  Michigan,  U.  S.  A. 

Formerly  owned  by  the  late  George  McCulloch.  Shown  at  the  London  Memorial  Ex- 
hibition., 1905;  number  30. 

Reproduced. 

5.  WHISTLER  IN  HIS  STUDIO  (attributed  to  Whistler) 
Full-length;  standing,  face  nearly  in  profile, facing  the  spectator. 
The  artist  is  dressed  in  white  and  holds  a palette  in  his  right  hand ; 
his  left  hand  holds  a brush.  Behind  him  stands  a woman  with  her 
back  to  him,  holding  a Japanese  fan,  and  facing  another  woman 
who  is  seated  on  a sofa.  There  is  a mirror  behind  the  artist's  head 
and  a small  print  in  gold  frame  at  the  extreme  right.  This  paint- 
ing is  believed  to  be  an  earlier  version, or  sketch,  for  the  following 
painting  ( number  6).  It  is  lower  in  tone  and  more  broadly  painted. 
Not  signed. 

Oil,  on  canvas. 

Painted  about  1874. 

Height,  23^.  Width,  18. 

Property  of  Municipal  Art  Gallery,  Dublin,  Ireland. 

Presented  to  the  Municipal  Art  Gallery  by  the  late  Sir  Hugh  Lane.  Shown  at  the  Lon- 
don Alemorial  Exhibition.,  1905;  number  15.  Shown  at  the  Tate  Gallery.,  London.,  with 
other  paintings  by  Whistler.,  1912;  number  17. 

Reproduced. 

6.  WHISTLER  IN  HIS  STUDIO 

The  painting  is  the  same  in  composition  as  the  above  version  ( num- 
ber 5). 

Signed  with  “butterfly,”  at  right  of  canvas. 

Oil,  on  canvas. 

Painted  about  1874. 


C 27  ] 


THE  PORTRAITS  OF  WHISTLER 


Height,  23.  Width,  V7%  . 

Property  of  Art  Institute  of  Chicago. 

Formerly  owned  by  Douglas  Freshfield.  Purchased  in  1912  by  The  Friends  of  Ameri- 
can Art  and  presented  to  the  Art  Institute.  Shown  at  the  London  Memorial  Exhibition., 
1905;  number  13. 

Reproduced. 

7.  BROWN  AND  GOLD  — PORTRAIT  OF  WHISTLER 
Half-length;  face,  seen  in  three-quarters,  is  turned  towards  the 
right.  He  is  gesticulating  with  his  left  hand.  He  wears  a monocle 
and  his  white  lock  of  hair  is  in  evidence.  His  coat  is  black,  the 
background  dark ; in  his  button-hole  is  the  rosette  of  an  Officer 
of  the  Legion  of  Honor. 

Signed  with  “ butterfly,"  at  right  of  canvas. 

Oil,  on  canvas. 

Painted  about  1894. 

Height,  26.  Width,  18^. 

Property  of  Mrs.  George  W.  Vanderbilt,  Washington,  D.C. 

Purchased  by  the  late  George  W.  Vanderbilt  from  Whistler.  Shown  at  the  Boston  Me- 
morial Exhibition.,  1904;  number  1.  Shown  at  the  Paris  Memorial  Exhibition.,  1905; 
number  29. 

Reproduced. 

8.  BROWN  AND  GOLD— PORTRAIT  OF  WHISTLER 
Full-length.  The  artist  wears  a long,  brown  overcoat.  This  paint- 
ing was  subsequently  rubbed  down  by  Whistler,  and  almost  de- 
stroyed. 

Oil,  on  canvas. 

Painted  about  1894. 

Property  of  Miss  Rosalind  Birnie  Philip,  London. 

Shown  at  the  Paris  Universal  Exhibition  of  1900  (^American  Section.,  number  108). 

C 28  ] 


ICONOGRAPHY 


(6)  Black  and  White  Chalk  Drawings 

9.  PORTRAIT  OF  WHISTLER 

Head  and  shoulders.  The  artist,  who  is  seen  almost  in  profile,  faces 
to  the  right. 

Height,  10/4  . Width,  6/4  . 

Formerly  oivned  by  P.  and  D.  Colnaghi  and  Ohach^  London. 

Reproduced  in  A.  E.  Gallatin's  Whistler"' s Pastels  and  Other  Modern  Profiles  {Neuo 
York  and  London:  John  Lane.,  1912,  1913). 

10.  PORTRAIT  OF  WHISTLER 

Head.  Full-face.  The  artist  wears  a soft  round  hat. 

Height,  6^ . Width,  5/4  . 

Property  of  National  Gallery  of  Art,  Washington,  D.C.  (Charles  L.  Freer  collection). 
Reproduced. 

11.  PORTRAIT  OF  WHISTLER 

Half-length.  The  artist  is  seen  leaning  over  a table,  drawing;  the 
head  is  slightly  turned  to  the  right  and  the  white  lock  of  hair  is 
visible. 

Height,  10.  Width,  6^. 

Property  of  National  Gallery  of  Art,  Washington,  D.C.  (Charles  L.  F reer  collection) . 
Formerly  oxvned  by  Thomas  Way. 

Reproduced  "in  E.R.  and  J.  PenncWs  The  Life  of  James  McNeill  Whistler  (^London: 
William  He'inemann;  Philadelphia:  J.  B.  Lippincott  Company.,  1908,  etc.'). 

(c)  Pen  and  Ink  Drawings 

12-14.  THREE  PORTRAITS  OF  WHISTLER 
Full-length.  Rough  sketches  made  on  Whistler’s  journey  to  Al- 
sace in  1858  with  Ernest  Delannoy. 

c 29  ] 


THE  PORTRAITS  OF  WHISTLER 


Reproduced  in  Jifth  edition  of  E.  R.  and  J.  Pennell's  The  Life  of  James  McNeill  Whis- 
tler (London:  William  Heinemann;  Philadelphia:  J.  B.  Lippincott  Company^  1911). 

15.  PORTRAIT  OF  WHISTLER 

Full-length.  The  artist  is  seen  standing;  by  his  side  is  Mrs.  Pat- 
terson and  her  little  dog.  A slight  sketch  done  at  Chelsea  in  1882. 
The  drawing  contains  some  wash. 

Reproduced  in  catalogue  of  Maggs  Brothers^  London  (dealers  in  drawings^  etc()^  num- 
ber 295;  October^  1912. 

16.  PORTRAIT  OF  WHISTLER 

Half-length.  The  artist,  who  wears  an  overcoat,  with  the  collar 
turned  up,  has  inclined  his  head  slightly  to  the  right.  This  is  a 
carefully  executed  drawing  for  the  artist’s  portrait  of  himself  en- 
titled “Brown  and  Gold,”  the  partly  destroyed  painting  owned 
by  Miss  Rosalind  Birnie  Philip  (number  8). 

Signed  with  “ butterfly.” 

Height,  4.  Width,  3}i  . 

Property  of  Joseph  Pennell. 

Reproduced  in  frst  four  editions  of  E.  R.  and  J.  Pennell's  The  Life  of  James  McNeill 
Whistler. 

17.  PORTRAIT  OF  WHISTLER 
Full-length;  standing.  An  extremely  slight  sketch. 

Property  of  Pickford  Waller,  London. 

Reproduced  in  Books  and  Book-Plates  (l.ondon)  ■t’ool.  zu,  number  3 (1903—04). 


(t/)  Pencil  Drawings 

i8.  PORTRAIT  OF  WHISTLER 
Quarter-length.  The  drawing  contains  some  wash. 

[ 30  ] 


ICONOGRAPHY 


Executed  in  1845  or  1846. 

Height,  . Width,  3. 

Property  of  National  Gallery  of  Art,  Washington,  D.  C.  (Charles  L.  Freer  collection). 
Formerly  owned  by  Sir  Seymour  Haden. 

Unpublished. 

19-24.  SIX  PORTRAITS  OF  WHISTLER 
These  portraits  are  contained  in  six  of  a set  of  forty  drawings, 
illustrating  both  indoor  and  outdoor  scenes,  made  by  Whistler  in 
1858  during  his  Rhine  trip  with  Ernest  Delannoy. 

Property  of  National  Gallery  of  Art,  Washington,  D.  C.  (Charles  L.  Freer  collection) . 
Formerly  owned  by  Sir  Seymour  Haden. 

Unpublished. 

25.  PORTRAIT  OF  WHISTLER 
Head;  turned  slightly  to  right. 

Height,  1 "A . Width,  1 ^ . 

Property  of  Mortimer  Menpes. 

Reproduced  in  The  Studio  (^Londoii) January.,  1907. 


[e)  Etchings 

26.  PORTRAIT  OF  WHISTLER 

Quarter-length;  full-face,  bending  forward.  The  artist’s  left  arm 
rests  on  a table:  the  hand  is  raised  and  holds  a cigarette. 

Signed  “J.W.” 

Height,  Ayk.  Width,  3*/i6. 

Second  State:  There  is  more  shading  in  the  background. 

Wedmore  1;  Mansfield  9;  Kennedy  7. 

Reproduced. 


C 31  3 


THE  PORTRAITS  OF  WHISTLER 


27.  THE  TITLE  TO  THE  FRENCH  SET  (First  version, 
rejected) 

Full-length.  The  artist  is  seated,  sketching,  with  back  to  spectator. 
A group  of  people  are  watching  him  at  work.  Inscribed  as  in  follow- 
ing etching,  except  that  “Douze”  reads  “Treize.” 

Etched  in  1858. 

Height,  . Width,  43/i6. 

This  is  the  first  attempt,  which  was  rejected,  for  the  following  etching.  The  impression 
in  the  British  Museum  is  probably  unique. 

Not  mentioned  in  Wedmore,  Mansfield,  or  Kennedy. 

Reproduced  in  Print  Collector’s  Bulletin  (^Boston'),  Aprils  1917. 


28.  THE  TITLE  TO  THE  FRENCH  SET 
Full-length;  seated.  The  artist  is  seen  sketching,  surrounded  by 
a group  of  children.  He  wears  gaiters  and  loose  trousers  and  on 
his  head  is  a broad-brimmed  hat.  Inscribed;  “Douze  Eaux  Fortes 
d’apres  Nature  par  James  Whistler.  Imp.  Delatre,  Rue  St.  Jacques, 
171,  Paris,  Nov.  1858.  A Mon  viel  Ami  Seymour  Haden.” 
Signed  “J.  Whistler.” 

Etched  in  1858. 

Height,  4^  . Width,  5 Y\  . 

Wedmore  20;  Mansfield  25;  Kennedy  25. 

29.  PORTRAIT  OF  WHISTLER 
Head,  turned  to  left. 

Height,  2.  Width,  lY- 

Lightly  etched  on  a plate  measuring  11^  by  6^  inches,  containing  two  other  por- 
traits, a head  and  a full-length  figure.  The  only  impressions  known  are  from  the  can- 
celled plate. 

Mansfield  102;  Kennedy  101. 


C 32  3 


No.  1 


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No.  3 


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No.  4 


No.  5 


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No.  6 


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4 


No.  7 


No.  10 


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No.  26 


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14 


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No.  30 


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ICONOGRAPHY 


{/)  Dry-points 

so.  PORTRAIT  OF  WHISTLER 

Half-length,  The  artist,  who  wears  a low-crowned  hat  with  broad 
brim,  bends  forward;  he  is  sketching. 

Signed  “ Whistler,  1859.” 

Height,  9.  Width, 

Second  state:  The  hat  is  heavily  shaded. 

Wedmore  52;  Mansfield  54;  Kennedy  54. 

Reproduced. 

31.  PORTRAIT  OF  WHISTLER 

Head  and  shoulders;  full  face.  The  artist  wears  a broad-brimmed 
hat. 

Height,  2%.  Width,  3^. 

This  portrait,  which  is  lightly  etched,  was  made  on  the  lower  right  hand  comer  of  the 
plate  known  as  “Fumette’s  Bent  Head.” 

Second  state:  Signed  “Whistler,  1859.” 

Wedmore  51;  Mansfield  57;  Kennedy  57. 

32.  WHISTLER  WITH  THE  WHITE  LOCK 

Head  and  shoulders;  almost  full-face.  The  artist,  who  regards  the 
spectator,  has  turned  his  head  slightly  to  the  left.  His  white  lock 
of  hair  is  conspicuous.  Lightly  sketched  near  the  top  of  the  plate. 
Height,  4y&  . Width,  . 

Wedmore  142;  Mansfield  169;  Kennedy  172. 


C 33  ] 


THE  PORTRAITS  OF  WHISTLER 


II 

Portraits  by  Various  Artists 

(a)  Paintings 

All  of  the  paintings  here  listed  are  in  oil^  on  canvas 

33.  SIR  V^ILLIAM  BOXALL 

Half-length ; facing  to  left.  Whistler  as  a boy  of  fourteen.  He  wears 
a wide  white  collar. 

Painted  in  1848. 

Property  of  Miss  Rosalind  Birnie  Philip,  London. 

Exhibited  at  The  Royal  Academy  in  London  in  1849. 

Reproduced  in  E.  R.  and  J.  PenneW s The  Life  of  James  McNeill  Whistler  (^London: 
William  Heinemann;  Philadelphia:  J.  B.  Lippincott  Company^  1908,  etci). 

34.  I.  H.  J.  T.  FANTIN-LATOUR 

Three-quarters  length ; standing,  facing  to  right.  The  artist  wears 
a frock  coat.  The  fifth  figure  from  the  left,  in  the  foreground,  of 
the  painting  entitled  “Hommage  a Delacroix.” 

Property  of  Musee  des  Arts  Decoratifs,  Paris  (Moreau-Nelaton  collection) . 
Exhibited  at  the  Paris  Salon  of  1864. 

Reproduced  in  Theodore  Buret’s  Histoire  de  J.  McN.  Whistler  et  de  son  CEuvre  (^Paris: 
H.  Floury^  1904). 

35.  I.  H.  J.  T.  FANTIN-LATOUR 

Head  and  shoulders,  facing  to  left;  seen  nearly  full-face.  The 
artist  wears  an  Oriental  garment,  with  no  collar. 

This  head  was  cut  from  a canvas  entitled  “Hommage  a la  Verite — le  Toast,”  shown 
at  the  Paris  Salon  of  1865  and  later  destroyed. 

Height,  18.  Width,  14. 

Property  of  National  Gallery  of  Art,Washington,  D.  C.  (Charles  L.  Freer  collection) . 

C 34  ] 


ICONOGRAPHY 


Formerly  owned  by  the  late  Samuel  P.  Avery. 

Reproduced. 

36.  WALTER  GREAVES 
Half-length;  seated  on  a bench. 

Dated  1869. 

Height,  24.  Width,  20. 

Sold  at  auction  at  Anderson  Galleries,  New  York,  5 March,  1912. 

37.  WALTER  GREAVES 
Full-length;  standing  on  a bridge. 

Dated  1869. 

Height,  75%  . Width,  39. 

Property  of  Rosenbach  Company,  Philadelphia. 

38.  WALTER  GREAVES 
Three-quarters  length;  leaning  against  a rail. 

Dated  1869. 

Height,  36.  Width,  22. 

Property  of  Rosenbach  Company,  Philadelphia. 

39.  WALTER  GREAVES 

Full-length;  in  Whistler’s  studio.  Whistler’s  portrait  of  his  mother 
is  on  an  easel. 

Dated  1869. 

Height,  40.  Width,  36. 

Property  of  Rosenbach  Company,  Philadelphia. 

40.  WALTER  GREAVES 

Half-length;  seated  by  side  of  Thames  River.  The  artist  wears 
a top-hat  and  is  smoking  a cigarette. 

C 35  ] 


THE  PORTRAITS  OF  WHISTLER 


Painted  in  1869. 

Property  of  G.  Norton  Northrop,  Minneapolis,  Minnesota,  U.  S.  A. 

41.  WALTER  GREAVES 
Three-quarters  length;  standing. 

Dated  1870. 

Height,  30/4  . Width,  25. 

Property  of  Rosenbach  Company,  Philadelphia. 

42.  WALTER  GREAVES 
Three-quarters  length;  seated  on  a balcony. 

Dated  1870. 

Height,  25.  Width,  19. 

Sold  at  auction  at  Anderson  Galleries,  New  York,  18  February,  1913. 

43.  WALTER  GREAVES 
Quarter-length. 

Dated  1871. 

Property  of  Walter  T.  Spencer,  London. 

44.  WALTER  GREAVES 
Full-length;  standing. 

Dated  1871. 

Property  of  Walter  T.  Spencer,  London. 

45.  WALTER  GREAVES 
Three-quarters  length;  in  evening  clothes. 

Dated  1871. 

Height,  44.  Width,  34. 

Property  of  Rosenbach  Company,  Philadelphia. 

[ 36  ] 


ICONOGRAPHY 


46.  WALTER  GREAVES 

Half-length ; in  grey  frock  coat. 

Dated  1871. 

Height,  31.  Width,  26. 

Property  of  Pennsylvania  Academy  of  Fine  Arts,  Philadelphia. 


47-  WALTER  GREAVES 

Full-length;  standing  in  front  of  a stone  wall. 

Dated  1872. 

Height,  36.  Width,  23. 

Property  of  Rosenbach  Company,  Philadelphia. 

48.  WALTER  GREAVES 

Three-quarters  length;  standing,  pointing  to  river. 

Dated  1874. 

Height,  36.  Width,  28. 

Property  of  Rosenbach  Company,  Philadelphia. 


49.  WALTER  GREAVES 
Half-length ; standing. 

Dated  1874. 

Height,  36.  Width,  24. 

Sold  at  auction  at  Anderson  Galleries,  New  York,  5 March,  1912. 


50.  WALTER  GREAVES 

Three-quarters  length;  painted  on  London  Embankment. 

Dated  1874. 

Property  of  John  Lane,  London. 


L S7  '] 


THE  PORTRAITS  OF  WHISTLER 


51.  WALTER  GREAVES 

Three-quarters  length.  The  artist  is  painting  on  banks  of  the 
Thames  River. 

Dated  1875. 

Property  of  James  Swan,  Detroit,  Michigan,  U.  S.  A. 

52.  WALTER  GREAVES 
Half-length;  facing  to  left. 

Height,  30.  Width,  25. 

Property  of  Toledo  Museum  of  Art,  Toledo,  Ohio,  U.S.A. 

53.  WALTER  GREAVES 

Three-quarters  length;  standing,  pointing  to  river. 

Dated  1875. 

Height,  41.  Width,  35. 

Property  of  Rosenbach  Company,  Philadelphia. 

54.  WALTER  GREAVES 

The  artist  is  seen  seated,  with  legs  crossed,  and  is  painting. 

Height,  49.  Width,  32. 

Property  of  Rosenbach  Company,  Philadelphia. 

55.  THOMAS  R.  WAY 

Full-length.  The  artist  is  seen  standing  and  bending  over  a table, 
at  work  printing  etchings.  His  press  is  at  the  left,  as  is  also  the 
figure  of  Thomas  Way.  A small  white  dog  is  seen  in  the  fore- 
ground. 

Painted  in  London  in  1880. 

Height,  10.  Width,  12. 

Property  of  A.  E.  Gallatin,  New  York. 

Reproduced. 


C 38  ] 


ICONOGRAPH  Y 


56.  WILLIAM  MERRITT  CHASE 

Full-length.  The  artist  is  seen  standing,  facing  to  right  and  hold- 
ing a painter’s  “ wand.”  His  clothes  are  black  and  the  background 
is  brown.  Inscribed:  “To  my  friend  Whistler,  Wm.  M.  Chase, 
London,  1885.” 

Height,  72.  Width,  36. 

Property  of  Metropolitan  Museum  of  Art,  New  York. 

Formerly  owned  by  William  Hall  Walker.^  New  York.  Mr.  Walker  bought  the  painting 
from  Chase  and  bequeathed  it  to  the  Metropolitan  Museum  (1917). 

Reproduced. 

51.  WALTER  SICKERT 

Full-length.  Whistler,  who  wears  a cap,  is  seen  standing  at  his 
easel  and  painting,  in  the  foreground  of  a small  landscape  painted 
on  the  beach  at  Dieppe. 

Property  of  Comte  Robert  de  Montesquiou,  Paris. 

Unpublished. 

58.  GIOVANNI  BOLDINI 

Full-length.  The  artist  is  seated  on  a Louis  XVI  chair,  facing  spec- 
tator. His  right  hand  is  raised  to  his  head;  his  left  hand  and  arm 
hold  his  top-hat  and  overcoat. 

Painted  in  1897. 

Height,  67.  Width,  37^  . 

Property  of  Brooklyn  (New  York)  Institute  of  Arts  and  Sciences. 

Exhibited  at  Paris  Universal  Exhibition  of  1900. 

Reproduced. 

59.  MORTIMER  MENPES 

Three-quarters  length  (nearly);  seated,  facing  to  left. 

c 39 ;] 


THE  PORTRAITS  OF  WHISTLER 


Reproduced^  in  colour^  in  Mortimer  Menpes'  Whistler  as  I Knew  Him  {London : Adam 
and  Charles  Black;  New  York:  The  Macmillan  Company^  1904), 

Go.  MORTIMER  MENPES 

Head  and  shoulders.  The  artist  is  seen  in  profile,  looking  down.  A 
sketch,  executed  mostly  in  black. 

Height,  18.  Width  14/4 . 

Unpublished. 

61.  MORTIMER  MENPES 

Full-face.  A smaller  sketch,  on  same  canvas  as  number  Go.  Exe- 
cuted mostly  in  black. 

Unpublished. 

(6)  Pen  and  Ink  Drawings 

62.  GEORGE  DU  MAURIER 

Full-length.  A figure  in  a drawing  showing  Whistler  and  du 
Maurier  calling  at  a photographer’s. 

Reproduced  in  Punch  {Londori)-,  6 October.,  1860. 

63.  GEORGE  DU  MAURIER 

Full-length;  seated,  wearing  a cap.  The  artist  is  with  du  Maurier 
and  Aleco  lonides.  The  upper  portion  of  a drawing  made  for  the 
programme  of  some  private  theatricals  held  at  the  London  house 
of  Alexander  lonides,  in  which  Whistler  took  part.  i86i. 

Reproduced  in  jirst  four  editions  of  E.  R.  and  J.  Pennell's  The  Life  of  James  McNeill 
Whistler  {London:  William  Heinemann;  Philadelphia:  J.  B.  Lippincott  Company., 
1898,  etc.^. 

64.  GEORGE  DU  MAURIER 

Full-length;  standing.  The  artist  is  seen  walking  with  du  Maurier 

C 40  ] 


No.  35 


No.  55 


No.  56 


V 


P ■ 


.1 


Co/iyright  Detroit  Publishing  Co. 


No.  58 


4 


. ■! 


r 


j 


-11 


1 


ICONOGRAPH  Y 


and  Charles  Keene;  he  is  the  figure  at  the  left  of  the  drawing. 

Height,  . Width,  29/i6. 

Property  of  Howard  Mansfield,  New  York. 

Reproduced. 

65.  GEORGE  DU  MAURIER 

Full-length.  A figure,  seen  at  left,  in  a drawing  entitled  “Taffy 
a L'Echelle.”  An  illustration  for  du  Maurier’s  novel  Trilby. 

Property  of  J.  P.  Morgan,  New  York. 

Reproduced  in  Harper’s  Magazine  {Nerv  YorJi).,  February.,  1894.  Also  reproduced  in 
the  novel  when  published  in  book  form  the  following  year. 

66.  GEORGE  DU  MAURIER 

Full-length.  A figure,  seen  near  the  right,  in  a drawing  entitled 
“ All  as  It  Used  to  Be.”  An  illustration  for  du  Maurier’s  novel 
Trilby. 

Property  of  J.  P.  Morgan,  New  York. 

Reproduced  in  Harper’s  Magazine  {New  York').,  March.,  1894.  Also  reproduced.,  but 
with  the  addition  of  a beard.,  in  the  novel  zvhen  published  in  book  form  the  following 
year. 


67.  GEORGE  DU  MAURIER 

Full-length.  A figure,  the  left  hand,  in  a drawing  entitled  “The 
Two  Apprentices.”  An  illustration  for  du  Maurier’s  novel  Trilby. 

Property  of  .J.  P.  Morgan,  New  York. 

Reproduced  in  Harper’s  Magazine  {New  YorF).,  March.,  1894. 


68.  I.  H.  J.  T.  FANTIN-LATOUR 
Head ; profile,  to  left. 

Reproduced. 


C 41  3 


THE  PORTRAITS  OF  WHISTLER 


69.  SIR  EDWARD  J.  POYNTER 
Sketch  showing  Whistler  at  work. 

Property  of  National  Gallery  of  Art,  Washington,  D.  C.  (Charles  L.  Freer  collection) . 
Formerly  owned  by  Sir  Francis  Seymour  Haden. 

Unpublished. 

70.  SIR  EDWARD  J.  POYNTER 

Sketch  showing  Whistler  at  work.  On  same  sheet  of  paper  as 
above  drawing. 

Property  of  National  Gallery  of  Art,  Washington,  D.  C.  (Charles  L.  Freer  collection) . 
Formerly  owned  by  Sir  Francis  Seymour  Haden. 

Unpublished. 

71.  JOHN  WATKINS 

Drawn  from  the  bust  by  Sir  J.  Edgar  Boehm. 

Reproduced  in  L’Art  (Paris') .,vol.  x.,page  9 (1877). 

72.  [UNKNOWN] 

Head. 

Reproduced  in  Figaro  (parts).,  28  February.,  1885. 

73.  MAURICE  GREIFFENHAGEN 

Full-length.  The  artist  is  engaged  in  conversation  with  a group 
of  men. 

Height,  . Width,  8/4. 

Reproduced  in  Judy  (^London).,  16  March.,  1887. 

74.  SIDNEY  STARR  AND  WHISTLER 

Head  and  shoulders ; turned  to  left  and  seen  almost  in  profile.  Exe- 
cuted for  The  Whirlwind  ( London ) , in  which  Whistler  was  in- 

C 42  ] 


ICONOGRAPH  Y 


terested,  but  not  published.  The  drawing  was  made  by  Starr  and 
afterwards  worked  on  by  Whistler,  who  also  put  his “ butterfly” 
on  it. 

Dated  1890. 

Property  of  Pickford  Waller,  London. 

Reproduced. 

75.  WALTER  SICKERT 

A drawing  of  Whistler  and  Mrs.  William  Whistler. 

Property  of  Comte  Robert  de  Montesquiou,  Paris. 

76.  WILLIAM  ROTHENSTEIN 
F ull-length ; standing,  facing  to  left. 

Drawn  from  memory  in  Paris  about  1894. 

Height,  9 A-  • Width,  . 

Property  of  C.  L.  Rutherston,  Bradford,  England. 

Reproduced. 

77.  [UNKNOWN] 

Reproduced  in  Daily  Graphic  (^Londoii).,  6 April.,  1897. 

78.  [UNKNOWN] 

Reproduced  in  Daily  Graphic  {Londori).,  6 April.,  1897. 

79.  “A.C.  G.” 

Reproduced  in  Westminster  Budget  {Londori).,  April.,  1897. 

80.  [UNKNOWN] 

Drawn  from  a photograph. 

Reproduced  in  The  Star  {Londori).,  18  July.,  1903. 

n 43  ] 


THE  POE TR JITS  OF  WHISTLER 


8i.  [UNKNOWN] 

Head  and  shoulders.  Drawn  from  a photograph. 

Reproduced  in  Staats  Zeitung  (JJeiv  Tori),  19  July,  1903. 


82.  R.  LILLIE 

Half-length.  The  artist  is  seated,  facing  to  left  and  smoking  a 
cigarette.  Drawn  from  a photograph  by  London  Stereoscopic 
Company  (number  277). 

Reproduced  in  Daily  Chronicle  (^London'),  20  July,  1903. 

83.  PHIL  MAY 

Full-length.  The  artist  is  shown  in  conversation  with  Oscar  Wilde. 

Reproduced  in  Phil  May's  Sketch  Book  {London,  1903). 

84.  [UNKNOWN] 

Head  and  shoulders ; facing  to  left,  seen  nearly  in  profile.  Drawn 
from  a photograph. 

Reproduced  in  News  of  the  World  {London^,  19  July,  1903. 

85.  [UNKNOWN] 

Drawn  from  a photograph. 

Reproduced  in  Daily  News  {London^,  20  July,  1903. 

86.  “M.  D.” 

Drawn  from  a photograph. 

Reproduced  in  Daily  Express  {London'),  20  July,  1903. 

87.  [UNKNOWN] 

Drawn  from  a photograph. 

Reproduced  in  Daily  Graphic  {Londo7i),20  July,  1903. 

[ 44  ] 


' 


No.  68 


No.  74 


No.  re 


f- 


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4 

‘Vi 


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•1 


) 


ICONOGRAPHY 


88.  [UNKNOWN] 

Head  and  shoulders;  facing  to  left,  seen  nearly  in  profile.  Drawn 
from  a photograph. 

Reproduced  in  Weekly  Dispatch  {Londoii)i  19  July^  1903,  and  in  Weekly  Budget 
{Londori).,  25  Jidy^  1903. 

89.  GEORGE  BENTHAM 

Head  and  shoulders.  Drawn  from  the  bust  by  Boehm  (number 
190). 

Reproduced  in  '’'"Mr.  Whistler's  Ten  O' Clock"  (^Chicago:  Old  Dominion  Shop^  1904). 


90.  [UNKNOWN] 

Head  and  shoulders  (nearly).  In  an  advertisement  of  Franklin 
Simon  and  Company,  New  York. 

Reproduced  in  New  York  Times,  21  February^  1907. 

91.  “C.  A.  M.” 

Head  and  shoulders;  facing  to  right.  Drawn  from  a photograph. 

Reproduced  in  Sunday  Independent  (^Duhlhi)-,  6 July^  1913. 

92.  JACQUES  REICH 

Head.  Drawn  from  a photograph. 

Reproduced  in  Appletons'  Cyclopaedia  of  American  Biography  (^Nexu  York'). 

93.  [UNKNOWN] 

Head  and  shoulders.  Drawn  from  Whistler’s  portrait  of  himself 
as  a young  man,  in  which  he  wears  a straw  hat  and  is  smoking  a 
cigarette  (number  2). 

Reproduced  in  Public  Ledger  (^Philadelphia^ ^ 1 December^  1913. 

C 45  ] 


THE  PORTRAITS  OF  WHISTLER 


94.  [UNKNOWN] 

Half-length;  facing  to  left.  In  an  advertisement  of  the  Pierce- 
Arrow  automobile. 

Reproduced  in  Evening  Post  {New  York')  4 January^  1915,  and  in  other  newspapers. 

95.  [UNKNOWN] 

Head  and  shoulders;  facing  to  left.  Drawn  from  the  charcoal 
drawing  by  Paul  Rajon  (number  135).  In  an  advertisement  of 
Whatman’s  drawing  paper. 

Reproduced  in  International  Studio  {New  YorJt).,  April.,  1918. 


( r ) Other  Mediums 

96.  [UNKNOWN] 

Three-quarters  length;  standing  and  seen  nearly  full-face.  The 
right-hand  figure  in  an  oval  miniature,  with  his  brother,  Dr. 
Whistler,  when  they  were  boys  [aet.  seven).  Crayon. 

Executed  in  1841. 

Property  ofNational  Gallery  of  Art,  Washington,  D.C.  (Charles  L.  Freer  collection) . 
Formerly  owned  by  Airs.  George  D.  Stanton  and  Aliss  Emma  W.  Palmer. 

Reproduced  in  E.  R.  and  J.  PenneW s The  Life  of  James  AIcNeill  Whistler  {London: 
William  Heinemann;  Philadelphia:  J.  B.  Lippincott  Company.,  1898,  e^c.). 

91.  SIR  EDWARD  J.  POYNTER 

Head  and  shoulders;  profile,  to  right.  The  artist  wears  a soft  hat; 
in  his  mouth  is  a toothpick;  he  is  asleep.  Pencil. 

Drawn  from  life  in  a Paris  cafe,  27  September,  1856. 

Height,  6.  Width,  6. 

Property  of  Mrs.  Eugene  Meyer,  Jr.,  New  York. 

Reproduced. 


[ 46  ] 


ICONOGRAPHY 


98.  SIR  EDWARD  J.  POYNTER 

The  artist  wears  a broad-brimmed  hat ; his  hair  hangs  in  curls  over 
his  ears.  Pencil. 

Executed  in  1858. 

Height  TA,  . Width,  5%  . 

Property  of  National  Gallery  of  Art,  Washington,  D.  C.  (Charles  L.  Freer  collection) . 
Formerly  owned  by  Sir  Francis  Seymour  Haden. 

Unpublished. 

99.  SIR  FRANCIS  SEYMOUR  HADEN 

Half-length ; profile,  to  right.  He  wears  a large  flat  hat  over  his 
long  hair.  Sepia. 

Drawn  about  1858. 

Height,  6^  . Width,  6. 

Property  of  New  York  Public  Library  (Samuel  P.  Avery  collection). 

Reproduced. 

100.  EDWIN  EDWARDS 

The  artist  is  seen  sketching,  seated,  at  Moulsey  lock.  The  title  of 
the  plate  is  “Whistler  at  Moulsey.”  Etching. 

Height,  45^.  Width,  6)^. 

101.  FRANCIS  LATHROP 

Head  and  shoulders;  profile,  to  left.  The  artist  is  one  of  three  fig- 
ures seated  at  a table  in  an  outdoor  cafe  on  a river  bank.  Under 
the  portrait  of  Whistler  is  written  “Whistler,  1861.”  Pencil. 
Height,  11.  Width,  7 Vs. 

Property  of  New  York  Public  Library  (Samuel  P.  Avery  collection). 

102.  JOHN  W.  ALEXANDER 
Three-quarters  length;  standing,  facing  to  left. 

C 47  ] 


Charcoal. 


THE  PORTRAITS  OF  WHISTLER 


Drawn  in  London  in  1886. 

Height,  33.  Width,  17/4. 

Property  of  A.  E.  Gallatin,  New  York. 

Reproduced. 

103.  WALTER  GREAVES 

Full-length;  standing,  facing  to  left.  Pen  and  ink,  with  wash. 

Property  of  Elmer  Adler,  Rochester,  New  York. 

104.  WALTER  GREAVES 

Pen  and  ink,  with  wash. 

Property  of  Elmer  Adler,  Rochester,  New  York. 

105.  WALTER  GREAVES 

Full-length;  seated.  Pen  and  ink,  with  brush  work. 

Height,  10.  Width,  7/4  . 

Sold  at  auction  at  Anderson  Galleries,  New  York,  5 March,  1912. 

106.  WALTER  GREAVES 

Full-length;  standing.  Pen  and  ink,  with  brush  work. 

Height,  12.  Width,  7. 

Sold  at  auction  at  Anderson  Galleries,  New  York,  5 March,  1912. 

107.  WALTER  GREAVES 

Three-quarters  length ; seated.  Sketch  in  oil,  on  paper. 

Height,  12.  Width,  9. 

Property  of  A.  E.  Gallatin,  New  York. 

Reproduced  in  A.  E.  Gallatin's  The  Portraits  and  Caricatures  of  James  McNeill  Whis- 
tler QNerv  York  and  London:  John  Lane,  1913). 

108.  WALTER  GREAVES 
Three-quarters  length;  standing. 

[ 48  ] 


Sepia. 


ICONOGRAPHY 


Height,  9}(  . Width,  6. 

Property  of  A.  E.  Gallatin,  New  York. 
Unpublished. 


109-118.  WALTER  GREAVES 

Ten  drawings.  Half-length  and  three-quarters  length. 


Sizes  from  by  6 to  11^  by  8/4 . 

Sold  at  auction  at  Anderson  Galleries,  New  York,  5 March,  1912. 


Pencil  and  pen  and  ink. 


119.  WALTER  GREAVES 

Full-length  (nearly);  standing  on  a wharf.  Sepia. 

Height,  8/4  . Width,  6^  . 

Formerly  property  of  M.  Knoedler  and  Company,  New  York. 

Unpublished. 


120.  WALTER  GREAVES 
A sketch  from  memory. 

Property  of  William  Marchant,  London. 


121.  PERCY  THOMAS 

Made  from  Whistler's  portrait  of  himself  entitled  “ Whistler  in 
Painting  Jacket”  (number  4).  Etching. 

Height,  5^  . Width,  3^  . 

Frontispiece  to  Ralph  Thomas'' s A Catalogue  of  the  Etchings  and  Drypoints  of  James 
Abbott  Macneil  Whistler  ^London.,  privately  printed.^  1874). 

122.  FREDERICK  JUENGLING 

Made  from  Whistler's  portrait  of  himself  entitled  “ Whistler  in 
the  Big  Hat”  (number  1 ).  Wood-engraving. 

Height,  5/4  . Width,  4^4 . 

Reproduced  'in  Scribner’s  Magazine  iNerv  YorF).,  August.,  1879. 

C 49  ] 


THE  PORTRAITS  OF  WHISTLER 


123.  HENRI  GUERARD 

Made  from  Whistler’s  portrait  of  himself  entitled  “ Whistler  in 
the  Big  Hat”  (number  1 ).  Etching. 

Height,  8^.  Width,  7%  (etched  surface).  Height,  12.  Width,  8)4  (plate  mark). 
The  edition  was  limited  to  eighty-five  impressions,  of  which  there  are  six  states.  The 
first  state,  limited  to  six  copies,  is  before  the  background  was  put  in ; the  sixth  state,  lim- 
ited to  thirty-five  copies,  has  a portrait  of  Guerard  on  the  lower  margin;  another  state 
has  a copy  of  Whistler’s  autograph  and  “butterfly”  on  the  lower  margin. 

124.  HENRI  GUERARD 

Made  from  the  portrait  by  William  M.  Chase  (number  56). 

Etching. 

Height,  8)4  . Width,  4)4  . 

Only  one  copy  of  the  first  state  was  printed  (property  of  A.  E.  Gallatin,  New  York). 

125.  PAUL  HELLEU 

Half-length;  seated;  full-face;  head  resting  on  hand.  Dry-point. 

Height,  13)4 . Width,  10)4 . 

The  edition  was  limited  to  twenty-eight  impressions  (Helleu  wrote  this  across  the  de- 
faced plate). 

Reproduced. 

126.  PAUL  HELLEU 

Head  and  shoulders;  full-face.  Dry-point. 

Height,  6.  Width,  4. 

The  edition  was  limited  to  ten  or  twelve  impressions;  all  are  cut  as  in  the  reproduction. 
Reproduced. 

127.  GIOVANNI  BOLDINI 

Half-length.  The  artist  is  asleep  upon  a sofa.  Dry-point. 

Height,  7)4.  Width,  12. 

C 50  ] 


ICONOGRAPHY 


The  edition  was  about  twenty-five.  Drawn  at  the  time  Boldini  was  painting  his  por- 
trait of  Whistler,  between  two  of  the  poses  (1897). 

Reproduced. 

128.  GIOVANNI  BOLDINI 

Head  and  shoulders.  Made  from  portrait  of  Whistler  owned  by 
the  Brooklyn  Institute  of  Arts  and  Sciences  (number  58). 

Dry-point. 

Height,  11 Width,  8^. 

What  is  believed  to  be  the  only  copy  in  existence  is  owned  by  Edward  G.  Kennedy, 
New  York. 

Reproduced. 

129.  GIOVANNI  BOLDINI 

Full-length.  The  artist  is  stooping  in  front  of  a canvas  and  paint- 
ing. Pencil. 

Height,  3/4  . Width,  2^4  . 

Property  of  Edward  G.  Kennedy,  New  York. 

Reproduced. 


130.  I.  H.  J.  T.  FANTIN-LATOUR  (attributed  to) 

Three-quarters  length;  standing,  facing  to  right.  Inscribed:  “A 
Lami  Whistler  Fantin.”  Pastel. 

Height,  13^.  Width, 

Reproduced  in  A.  E.  GallatirC s The  Portraits  and  Caricatures  of  James  AIcNeill 
Whistler:  An  Iconography  (^Nexv  York  and  London:  John  Lane.,  1913). 

131.  THOMAS  R.  WAY 

Head  and  shoulders;  facing  to  right,  and  showing  the  white  lock 
of  hair.  Lithograph. 

Height,  8.  Width,  5/4  . 


C 51  ] 


THE  PORTRAITS  OF  WHISTLER 


Another  state  of  this  lithograph  is  almost  identical  with  above,  but  is  signed  “T.  R. 
Way”  under  the  “butterfly.”  An  impression  of  this  version  is  in  the  British  Museum, 
London.  Height,  5^  . Width,  3^ . 

132.  THOMAS  R.  WAY 

Made  from  his  painting  showing  Whistler  at  work  printing  etch- 
ings (number  55  )•  Lithograph. 

Height,  4.  Width,  5. 

Reproduced  in  Thomas  R.  Way's  Memories  of  James  McNeill  Whistler  (London  and 
New  York:  John  Lane.,  1912). 


133.  THOMAS  R.  WAY 

Half-length.  Sketch  of  the  artist  while  he  was  retouching  a litho- 
graphic stone.  Chalk. 

Reproduced  in  Thomas  R.  Way's  Memories  of  James  McNeill  Whistler  (London  and 
New  York:  John  Lane.,  1912). 


134.  [UNKNOWN^] 

Head  and  shoulders.  The  artist  wears  a large  hat. 

Wood-engraving. 

Height,  3.  Width,  2. 

Reproduced  in  New  York  Sun  in  the  early  eighties. 

135.  PAUL  RAJON 

Head  and  shoulders.  The  head,  which  is  slightly  turned  to  the  left, 
shows  the  artist’s  white  lock  and  his  monocle.  Inscribed:  “A  mon 
ami  Whistler.”  Charcoal. 

Property  of  Wilfred  Buckley,  England. 

This  drawing  has  been  reproduced  in  photogravure.  Height.,  11^-  Width.,  8^. 
Reproduced. 


C 52  ] 


ICONOGRAPHY 


136.  THOMAS  R.  WAY  AND  WHISTLER 
Full-length;  showing  the  artist’s  back.  He  is  standing  in  front  of  a 
wall.  Drawn  from  a photograph.  Lithograph. 

Height,  3 ^ . Width,  2 . 

Reproduced  in  Mr.  Whistleds  Lithographs.  The  Catalogue  Compiled  by  Thomas  R. 
Way  {London:  George  Bell  and  Sons.,  1896). 


137-  WILLIAM  HOLE 

Made  from  Whistler’s  portrait  of  himself  entitled  “ Whistler  in 
Painting  Jacket”  (number  4).  Etching. 

Height,  10.  Width,  7^  . 

Reproduced  in  Art  Journal  {Londoii)-,  October.,  1897. 

138.  WILLIAM  NICHOLSON 
Full-length;  standing,  facing  to  left. 

Height,  9J4.  Width,  sH- 

A few  proofs  were  printed  from  the  original  block 
bered,  and  signed  by  the  artist. 

Reproduced. 

139.  WILLIAM  NICHOLSON  (after) 

Reproduction  of  above  portrait;  same  size.  The  lithograph  con- 
tains an  inscription,  “James  McNeill  Whistler,”  which  does  not 
appear  beneath  the  original  wood-engraving. 

Lithograph,  in  colour. 

Reproduced  in  New  Review  {Londoii)i  "ool.  xvii.  Aftei~wards  included  in  the  artist's 
Twelve  Portraits,  first  series  {London:  William  Heinemann,  1899). 


Wood-engraving. 

: these  were  hand-coloured,  num- 


140.  WALTER  SICKERT 

The  artist  is  seen  in  his  studio,  at  work  on  his  table  palette. 

Only  one  impression  (property  of  Mr.  Clifton  of  Carfax,  England).  Etching. 

[ 53  D 


THE  PORTRAITS  OF  WHISTLER 


141.  ERNEST  HASKELL 

Head ; facing  to  left  and  seen  nearly  in  profile.  Engraved  from  a 
photograph.  Wood-engraving. 

Height,  3%.  Width,  2/^. 

Reproduced  in  The  Critic  (New  York).,  September.,  1902. 

142.  ERNEST  HASKELL 

Head  and  shoulders;  profile,  to  left.  He  wears  a top-hat. 

Charcoal. 

Property  of  Ralph  King,  Cleveland,  Ohio. 

Reproduced  in  Life  {Nexv  Tori).,  Christmas  number.,  1898.  Also  reproduced  on  poster  to 
advertise  American  edition  of  Whistler's  book  The  Baronet  and  the  Butterfy.  Also  re- 
produced by  the  platinotype  and  the  photogravure  processes.  The  latter  plate  was  worked 
on  by  Haskell.  The  platinotype  measures  9%  by 
Reproduced. 


143,  144.  MORTIMER  MENPES 

Two  studies.  Three-quarters  and  quarter-length,  on  same  plate. 

Dry-point. 

Reproduced  in  Mortimer  Menpes's  Whistler  as  I Knew  Him  (London:  Adam  and 
Charles  Black;  New  York:  The  Macmillan  Company.,  1904). 

145.  MORTIMER  MENPES 

Head  and  shoulders.  Dry-point. 

Reproduced  in  Mortimer  Menpes' s Whistler  as  I Knew  Him. 

146-153.  MORTIMER  MENPES 

Eight  studies.  Head;  quarter-length;  three-quarters  length,  on 
same  plate.  Dry-point. 

Reproduced  in  Mortimer  Menpes' s Whistler  as  I Knew  Him. 

C S4  ] 


ICONOGRAPHY 


154,  155.  MORTIMER  MENPES 

Two  studies.  Head  and  head  and  shoulders,  on  same  plate.  The 
artist  is  seen  asleep.  Dry-point. 

Reproduced  in  Mortimer  Menpes's  Whistler  as  I Knew  Him. 


156-161.  MORTIMER  MENPES 

Six  studies.  Quarter-length;  half-length ; three-quarters  length, on 
same  plate.  Dry-point. 

Reproduced  in  Mortimer  Menpes's  Whistler  as  I Knew  Him. 

162.  MORTIMER  MENPES 

Half-length;  seated;  profile,  to  right.  Dry-point. 

163.  MORTIMER  MENPES 

Head  and  shoulders;  head  turned  to  right.  Dry-point. 

Height,  7*5/16.  Width,  5’5/i6. 

164-168.  MORTIMER  MENPES 

Five  studies.  One  full-length  ( standing), two  head  and  shoulders, 
one  half-length,  one  three-quarters  length.  Dry-point. 

Height,  . Width,  5 *5/j6. 

169.  MORTIMER  MENPES 

Half-length;  standing,  facing  to  right.  Dry-point. 

Reproduced  in  Art  Journal  {Londoii)-,  Vol.  50. 

170.  MORTIMER  MENPES 

Head.  The  artist  is  laughing.  Dry-point. 

Reproduced  in  Brush  and  Pencil  {Chicago) August.,  1903. 

C 55  D 


THE  PORTRAITS  OF  WHISTLER 


171.  MORTIMER  MENPES 
Head.  The  artist  is  laughing. 

Reproduced  in  Brush  and  Pencil  (Jdhicagd)t  August^  1903. 

172.  MORTIMER  MENPES 
Half-length;  profile. 

Reproduced  in  Brush  and  Pencil  (jChicagd) •,  August^  1903. 

173.  MORTIMER  MENPES 

Head  and  shoulders ; his  tongue  is  visible. 

174.  MORTIMER  MENPES 

Head  and  shoulders;  full-face,  laughing. 


Dry-point. 


Dry-point. 


Dry-point. 


Charcoal. 


175.  MORTIMER  MENPES 

Head  and  shoulders.  Head  turned  to  left,  but  facing  spectator. 

Water-colour. 

Height,  5.  Width,  3 /4  . 

Property  of  A.  E.  Gallatin,  New  York. 

Reproduced. 


176.  JOSEPH  CZAJKOWSKI 

Head  ; facing  to  right.  Charcoal. 

Frontispiece  to  English  edition  of  TV.  G . BowdoirH s James  McNeill  TVhistler  (London: 
The  De  La  Afore  Press.,  1902). 


177-  MRS.  ALBERT  CLIFFORD  BARNEY 

Head;  facing  to  left.  Drawn  from  memory,  in  1902.  Pastel. 

Reproduced  in  John  J.  Conway’s  Footprints  of  Famous  Americans  in  Paris  (London 
and  New  York:  John  Lane.,  1912). 


C 56  ] 


ICONOGRAPHY 


1 78.  JULES  MAURICE  GASPARD 

Head  and  shoulders.  Drawn  from  a photograph  by  Elliot  and  Fry, 
London.  Pastel. 

Height,  20.  Width,  14. 

Reproduced  in  Elbert  Hubbard"' s Wh'istler  (^East  Aurora.,  Nexv  York:  The  Roycrofters., 
1902). 

179-182.  CYRUS  CUNEO 

Four  drawings.  They  show  Whistler  in  his  Academy  in  Paris. 

Wash. 

Height,  15^.  Width,  11. 

Reproduced  "in  Centuiy  Magazine  (^Nexv  TorE).,  November.,  1906. 

183.  ROBERT  KASTOR 

Made  from  a photograph  by  London  Stereoscopic  Company,  Lon- 
don (number  277).  Etching. 

Height,  5)4.  Width,  4. 

184.  [UNKNOWN] 

Head  and  shoulders.  The  border  contains  reproductions  of  six  of 
the  artist's  paintings.  Chromo-lithograph. 

Height,  4^  . Width,  5]4  . 

Reproduced  on  cover  of  box  for  the  Wh'istler  Cigar  (^Leopold  Powell  and  Company., 
Tampa.,  Florida) . 


185.  JOSEPH  SIMPSON 

Head;  facing  to  right.  Wash. 

Reproduced  "in  Holbrook  Jacksoii’s  All  Manner  of  Folk  (^London:  Grant  Richards.,  Ltd.., 
1912). 


C 57  ] 


THE  PORTRAITS  OF  WHISTLER 


186.  JACQUES  REICH 

Head  and  shoulders ; facing  to  left.  Drawn  from  a photograph  by 
London  Stereoscopic  Company.  Pencil. 

187.  JACQUES  REICH 

Made  from  the  portrait  painted  by  Boldini  (number  58). 

Etching. 

Height,  20^  . Width,  11^. 

The  first  state  has  a remarque  after  Whistler’s  portrait  of  his  mother ; the  second  state 
has  no  remarque;  the  third  state  is  the  same  as  the  second,  but  was  printed  after  the 
plate  had  been  steel  faced.  All  three  states  are  signed. 


188.  C.  B.  FALLS 

Full-length  ; seated.  Drawn  from  a photograph  by  Dornac  (num- 
ber 282).  Pen  and  ink,  with  wash. 

Reproduced  in  Puck  {New  TorR),  30  May,  1914. 


189.  [UNKNOWN] 

Half-length;  seated.  Drawn  from  the  portrait  painted  by  Boldini 
(number  58).  Wash. 

In  an  advertisement  of  Whatman! s drawing  paper. 

Reproduced  in  Arts  and  Decoration  {Jlew  Tori),  April,  1918. 


[ 58  ] 


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No.  129 


No.  135 


No.  138 


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No.  142 


V 


No.  175 


ICONOGRAPHY 


III 

Plastic  Portraits 

190.  SIR  J.  EDGAR  BOEHM 

Head  and  shoulders,  facing  to  left.  Modelled  in  the  round. 

Modelled  in  1872. 

Height,  19K  (including  pedestal,  24). 

Cast  in  terra-cotta. 

Property  of  H.  R.  H.  Princess  Louise,  Duchess  of  Argyle. 

Formerly  owned  by  Thomas  Way^  having  been  bought  by  him  at  the  bankruptcy  sale 
of  Whistled s paintings ^ porcelain^  etc.^  which  was  held  at  Sotheby's  in  London  on  12 
February^  1880. 

Reproduced  in  first  four  editions  of  E.  R.  and  J.  PennelPs  The  Life  of  James  McNeill 
Whistler  {London:  William  Heinemann;  Philadelphia:  J.  B.  Lippincott  Company^ 
1908,  eA'.). 

191.  LOUIS  BRUNO  ZINN 

Head.  Modelled  in  the  round  ( the  face  only ) ; from  a photograph. 

Modeled  in  1905. 

Circumference,  89. 

Cast  in  terra-cotta. 

Used  as  a decoration^  together  with  a model  of  Rembrandt' s head^  on  faqade  of  Fred- 
erick Keppel  and  Company's  buildings  4 East  59th  Street^  New  Fork. 

192.  VICTOR  DAVID  BRENNER 

Half-length;  standing,  facing  to  left.  A plaque,  modelled  in  bas- 
relief. 

Struck  in  bronze,  with  a few  in  silver. 

Height,  2/4  . Width,  3/4  . 

Modelled  to  commemorate  the  Whistler  Memorial  exhibition  held  in  London  in  1905. 
The  edition  was  two  hundred,  half  this  number  being  struck  at  the  Paris  mint  and  half 
at  the  Philadelphia  mint. 


C 59  ] 


THE  PORTRAITS  OF  WHISTLER 


193.  AUGUSTE  RODIN 
Head.  A plaque. 

Executed  in  plaster.  To  be  cast  in  bronze. 

194.  F.  HARRIMAN  WRIGHT 

Full-length;  seated.  Modelled  in  the  round.  Partly  based  on  the 
portrait  by  Boldini  (number  58  ). 

Height,  syi  . Width,  A<%  . 

Cast  in  plaster  and  coloured  to  imitate  terra-cotta. 

A statuette  in  form  of  a child’s  savings  bank. 

Published  by  The  Artists''  Mart  of  America.  Only  a few  were  put  on  the  market;  the 
company  was  short-lived. 


C 60  ] 


ICONOGRAPHY 


IV 

Caricatures 

[a)  Pen  and  Ink  Drawings 

195.  CHARLES  KEENE 

Full-length;  standing.  The  artist  holds  a book  under  one  arm  and 
is  smoking  a cigarette.  Inscribed  “Drypoint.”  Signed  “ C.  K.” 

Drawn  about  1870. 

Height,  &A-  • Width,  4%  . 

Reproduced  in  Drawings  and  Paintings  by  Artists  of  Norfolk  and  Suffolk  in  the  Col- 
lection of  J.  P.  Bfeseltine^.  (fLondon:  privately  printed^  1914). 

Reproduced. 

196.  CHARLES  KEENE 

Three-quarters  length;  standing.  The  artist  is  seen  in  profile,  to 
left;  right  hand  raised.  The  drawing  represents  Whistler  as  Mr. 
Punch  delivering  his  “Ten  O’clock”  lecture. 

Height,  6/4  . Width,  11/4  . 

Property  of  Howard  Mansfield,  New  York. 

A headpiece  for  Punch  (London),  Vol.  89  (4  July,  1885). 

Reproduced. 

197.  [UNKNOWN^ 

A figure  in  a drawing  entitled  “The  World,  the  Flesh  and  the 
Devil”  (Whistler  and  Ruskin). 

Reproduced  in  The  Hornet  {Londorf.,  4 December.,  1878. 

198.  LINLEY  SAMBOURNE 

A figure  in  a drawing  entitled  “ Whistler  versus  Ruskin — An  Ap- 
peal to  the  Law.”  The  judge  is  seen  handing  Whistler  the  farthing 

C 61  D 


THE  PORTRAITS  OF  WHISTLER 


damages  which  was  awarded  him.  Ruskin  is  depicted  as  a pelican 
and  Whistler's  legs  as  penny  whistles. 

Reproduced  in  Punch  {Londori)-,  7 December^  1878. 

Reproduced. 


199.  [UNKNOWN] 

Reproduced  in  The  Hornet  iLondon)-,  15  January.,  1879. 

200.  [UNKNOWN] 

Full-length.  A figure  in  a drawing  entitled”  Tom,  Jerry  and  Young 
Logic  at  a Private  View.” 

Reproduced  in  Punch  (^London').,  13  May.,  1882. 

201.  ”A.  B.” 

Reproduced  in  The  World  {Londori)-,  27  November.,  1884. 

202.  “A.  B.” 

Entitled  “Jimmy  Whistler — Drury  Lane  Lobby.” 

Reproduced  in  Back  Numbers  {Londoii). 

203.  J.  BERNARD  PARTRIDGE 

Reproduced  in  Lady’s  Pictorial  {^Londoii)-,  28  February.,  1885. 

204.  J.  BERNARD  PARTRIDGE 

A figure  in  a drawing  entitled  “At  the  Whistleries,”  showing 
Whistler  surrounded  by  caricatures  of  his  paintings. 

Height,  10^.  Width,  15. 

Reproduced  in  Judy  (^Londoti) .,  S December.,  1886. 


[ 62  ] 


ICONOGRAPHY 


205.  HARRY  FURNISS 

Full-length.  Whistler  is  represented  as  a pavement  artist.  Entitled 
“London  Paved  With  Gold.” 

Reproduced  in  Punch  (LondQri)i  19  March.,  1881. 

206.  HARRY  FURNISS 

Whistler  is  represented  as  a bird, in  a cage.  Entitled  “Notes  from 
a Whistler — The  Whistler  a Few  Bars  Behind.” 

Reproduced  in  Punch  {Londori)-,  24  March.,  1883. 

207.  HARRY  FURNISS 

Head.  A figure  in  a drawing  entitled  “At  Burlington  House.  The 
‘ Swarry.’  ” 

Reproduced  in  Punch  (^Londoii).,  27  June.,  1885. 

208.  HARRY  FURNISS 

Full-length.  One  of  the  artists  in  a procession  of  dancing  artists. 

Reproduced  in  Punch  (^Londoii),  7 August^  1886. 

209.  HARRY  FURNISS 

Full-length.  Entitled  “ Mr.  Punch’s  Twelfth-Night  Characters — 
The  Licensed  Vistler.” 

Reproduced  in  Punch  (Londori).,  7 January.,  1888. 


210.  HARRY  FURNISS 

Full-length.  The  artist  is  standing,  facing  to  left  and  smoking  a 
cigarette. 

Reproduced  in  Strand  Magazine  (London). 


C 63  ] 


THE  PORTRAITS  OF  WHISTLER 


211.  [UNKNOWN] 

Full-length;  holding  a Japanese  parasol. 

Reproduced  in  Punch  (London)-,  19  June^  1886. 

212.  [UNKNOWN] 

Full-length;  standing.  Entitled  “Latest  from  Paris.” 

Reproduced  in  Punch  (London)  •,  21  May^  1887. 

213.  EDWARD  TENNYSON  REED 

Whistler  as  a butterfly.  Entitled  “ The  Mephistophelian  Whis- 
tlerian Butterfly  ‘on  the  Pounce'  at  Antwerp.”  This  was  apropos 
of  the  pirated  edition  of  The  Gentle  Art  of  Making  Enemies. 

Reproduced  in  Punch  (^London)  ^ 28  June^  1890. 

214.  PHIL  MAY 

Head.  Entitled  “On  the  Brain  — Mr.  Whistler.”  Ruskin  is  also 
caricatured. 

Reproduced  in  Pick-Me-Up  (Londori)-,  9 January^  1892. 

Reproduced. 

215.  AUBREY  BEARDSLEY 

The  head  of  a full-length  figure  of  a faun. 

A part  of  a cover  and  title-page  design. 

Reproduced  in  Hie  Dancing  Faun.,  by  Florence.  Farr  (^London : Elkin  Mathews  and 
John  Lane.,  1893). 

216.  AUBREY  BEARDSLEY 
Head  and  shoulders;  nearly  full-face. 

Property  of  Pickford  Waller,  London. 

Drawn  for  Bon  Mots  of  Samuel  Foote  and  Theodore  Hook  (^London:  J.  M.  Dent  and 
Company,  1894);  reproduced  on  page  190. 

Reproduced.  [ 64  ] 


ICONOGRAPHY 


217.  GEORGE  GATCOMBE 

Entitled  “An  Unharmonious  Nocturnal  Study.” 

218.  R.  WREGE 

Entitled  “ Breaking  a Butterfly.” 

219.  GEORGE  DU  MAURIER 

Full-length.  The  artist  is  standing,  facing  to  left  and  seen  in  pro- 
file. Du  Maurier  also  appears  in  the  drawing. 

Drawn  in  a letter  written  on  21  September,  1894,  to  a Mr.  Harrison,  and  sold  for 
the  benefit  of  the  British  Red  Cross  at  auction  in  London,  April,  1918. 

Height,  2^  . Width,  19/i6. 

Formerly  property  of  Henry  Sotheran  and  Company^  London. 

Reproduced  in  The  Literary  Digest  (^Nexu  YorF)-,  20  April.,  1918. 

220.  S.  McMANUS 

Reproduced  in  Liko  Joko  {Londoii).,  20  October.,  1894. 

221.  [UNKNOWN] 

Head ; facing  to  left. 

Reproduced  in  Critic  (Nexv  TorF).,  17  November.,  1894. 

222.  CHARLES  LYALL 

Reproduced  in  Pall  Mall  Gazette  (^Londoii) .,  January.,  1895. 

223.  “H.  F.” 

Entitled  “Mr.  Whistler  Looking  Rather  Black.” 

Reproduced  in  Liko  Joko  {Londoii).,  30  March.,  1895. 

224.  [UNKNOWN] 

Entitled  “ Oliver  T.  Whistler  Asking  for  Moore.” 

Reproduced  in  Liko  Joko  (^Londoii).,  6 April.,  1895. 

C 65  ] 


THE  PORTRAITS  OF  WHISTLER 


225.  [UNKNOWN] 

Entitled  “ The  Warlike  Whistler." 

Reproduced  in  Ally  Sloper  (Londori)-,  6 Aprils  1895. 

226.  GARDNER  C.  TEALL 

Entitled  “Mr.  Whistler  by  Candle  Light." 

Reproduced  in  Chap  Book  {Chicago) ^ 1 February^  1896. 

227.  GARDNER  C.  TEALL 

Reproduced  in  Bookman  {New  Tork)^  February^  1901. 

228.  HARPER  PENNINGTON 
Full-length.  Entitled  “A  Certain  Master." 

Reproduced  in  Century  Magazine  {New  Tork)^  October^  1902. 

229.  HARPER  PENNINGTON 
Head  and  shoulders. 

230.  “MAX"  [MAX  BEERBOHM] 

Full-length ; profile,  to  right.  There  is  another  figure  in  the  draw- 
ing. Inscribed  “ Monsieur  le  Disciple." 

The  technique  of  Aubrey  Beardsley  has  been  copied. 

231.  “MAX  " 

Entitled  “A  Nocturne — Mr.  Whistler  Crossing  the  Channel." 

232.  FINCH  MASON 
Inscribed  “Jimmy." 

Height,  14.  Width,  10. 

Property  of  Walter  T.  Spencer,  London. 

C 66  1 


ICONOGRAPHY 


233.  FINCH  MASON 

Inscribed  “A  Regular  First  Nighter." 

Height,  14.  Width,  10. 

Property  of  Walter  T.  Spencer,  London. 

234.  [UNKNOWN] 

The  drawing  shows  Whistler  at  his  easel. 

Reproduced  in  Evening  Sun  (^Neiv  YorJt)^  10  January^  1903. 

235.  PICKFORD  WALLER 

Reproduced  in  Books  and  Book-Plates  CLondoii)i  number  3. 

236.  [UNKNOWN] 

Full-length;  standing.  Entitled  “Wittier  indeed!  " 

Reproduced  in  The  Bookman  {Nexv  TorR)^  August^  1904. 

237-  JOSEPH  SIMPSON 
Head,  facing  to  left. 

Reproduced  in  The  International  Studio  (New  TorJt)-,  July^  1905. 

238.  “GILL” 

One  of  the  figures  in  a caricature  of  Fantin-Latour’s  painting  entitled 
“ Hominage  a Delacroix,”  which  contains  a portrait  of  Whistler. 

Reproduced  in  Adolph  Juilliei'C s Fantin-Latour  (Paris^  1909). 

239.  WALTER  CRANE 
Whistler  as  a butterfly. 

Height,  27 lie.  Width,  3^. 

Property  of  A.  E.  Gallatin,  New  York. 

Reproduced  in  Walter  Crane's  William  Morris  to  Whistler  (London : George  Bell  and 
Rons.,  1911). 

Reproduced. 


C 67  ] 


THE  PORTRAITS  OF  WHISTLER 


240.  [UNKNOWN] 

Full-length.  The  drawing  shows  Whistler  painting  three  portraits 
of  Lady  Meux,  simultaneously. 

Height,  4^ . Width,  tyi  . The  drawing  contains  some  water-colour. 

Property  of  Rosenbach  Company,  Philadelphia. 

Reproduced  in  Graphic  {London)-,  25  March^  1911. 


[b)  Other  Mediums 

241.  “SPY’'  [LESLIE  WARD] 

Drawing  made  for  following  cartoon. 

Height,  13^.  Width,  8^. 

Property  of  National  Portrait  Gallery,  London. 

242.  “SPY" 

Full-length;  standing.  Entitled  “A  Symphony.” 

Lithograph,  in  colour - 

Height,  12/4^ . Width,  7/4^ . 

Reproduced  in  Vanity  Fair  {London)-,  12  January,  1878. 

Reproduced. 

243.  “SPY.” 

Three-quarters  length;  standing.  A sketch  on  the  back  of  drawing 
for  above  caricature;  somewhat  similar  to  the  caricature  itself. 

Body-colour . 

Unpublished. 

244.  “SPY” 

Full-length;  standing. 

Crayon  drawing,  with  stumping,  also  touches  of  water-colour. 

C ^8  ] 


ICONOGRAPH  Y 


Height,  7/4  . Width,  4}(  . 

Property  of  New  York  Public  Library  (S.  P.  Avery  collection). 

Reproduced  in  A.  E.  Gallatin's  The  Portraits  and  Caricatures  of  James  McNeill  Whis- 
tler: An  Iconography  {London  and  New  York:  John  Lane^  1913). 

245.  “APE”  [CARLO  PELLEGRINI] 

Full-length;  standing.  Oil. 

Height,  75.  Width,  36. 

Property  of  John  W.  Simpson,  New  York. 

Reproduced  in  A.  E.  Gallatin’s  The  Portraits  and  Caricatures  of  James  McNeill  Whis- 
tler: An  Iconography. 

246.  “APE” 

A sketch.  Pencil. 

Height,  4.  Width,  1 . 

Drawn  in  1883. 

Property  of  Pickford  Waller,  London. 

Unpublished. 

247.  “APE” 

Full-length;  standing.  The  artist  wears  a long  overcoat  and  a top- 
hat.  Dry-point. 

Height,  13^4.  Width,  10)4. 

Reproduced. 

248.  MORTIMER  MENPES 
Chalk,  on  sandpaper. 

Reproduced  in  The  London;  The  National  Magazine  {London^,  Alay,  1907. 

249.  EDWARD  TENNYSON  REED 
Half-length.  The  artist  is  descending  the  stairway. 

4 69  ] 


Pencil. 


THE  PORTRAITS  OF  WHISTLER 


Height,  6/4 . Width,  5}4 . 

Property  of  A.  E.  Gallatin,  New  York. 

Reproduced. 

250.  PICKFORD  WALLER 
Water-colour. 

Height,  7% . Width,  4^4  • 

Property  of  Pickford  Waller,  London. 

Unpublished. 

251.  FINCH  MASON 

Full-length.  Pencil  and  water-colour . 

Height,  10.  Width,  7. 

Property  of  Frank  Hollins,  London. 

252.  FINCH  MASON 
Pencil,  wash  and  chalk. 

Property  of  Walter  S.  Brewster,  Chicago. 

253.  “KYD”  [J.  CLAYTON  CLARK;] 

Full-length.  The  artist  is  dressed  in  black.  Entitled  “Jimmy  in 
Paris.”  Lithograph,  partly  coloured  by  hand. 

Height,  11/4  • Width,  7. 

254.  “MAX”  [MAX  BEERBOHM] 

Full-length.  A figure  in  a caricature  entitled  “Dante  Gabriel  Ros- 
setti in  His  Back  Garden.”  Water-colour. 

Reproduced  in  Mux  Beerbohni’s  The  Poet's  Corner  {London:  William  Heinemann, 
1904). 


n 70 : 


ICONOGRAPHY 


255.  “MAX” 

Full-length;  standing.  The  artist  wears  a top-hat. 

Pencil  and  water-colour. 

Height,  10^ . Width,  7/^  . 

Reproduced. 

256.  “MAX” 

Copy  of  the  caricature  by  Leslie  Ward  C^“Spy”J  entitled  “A  Sym- 
phony ” ( number  242 ) . Charcoal. 

The  picture  hangs  on  the  wall  of  a room  showing  J oseph  Pennell  posing  as  Whistler’s 
portrait  of  Carlyle;  entitled  “Mr.  Joseph  Pennell  thinking  of  an  old  ’un.” 

257-  H.  WHARTON  EDWARDS 

Three-quarters  length;  standing,  facing  to  left.  Inscribed  “Great 
Whistler  Alone  in  His  True  Colours  But  Not  by  Himself.” 

^epia  and  yellow  water-colour. 

Height,  6^  . Width,  . 

Property  of  Walter  S.  Brewster,  Chicago. 

Reproduced  in  Walter  S.  Brewster  s Catalogue  of  an  Exhibition  of  Whistleriana 
{Chicago:  privately  printed.,  1917). 

258.  [UNKNOWN] 

Full-length;  standing.  Drawn  from  a photograph. 

JVash,  with  pen  and  ink. 

Reproduced  in  Life  {^Nexv  YorE).,  8 November.,  1894. 

259.  [UNKNOWN] 

Full-length;  full-face.  JVash. 

Reproduced  in  The  Book  Buyer  (^Nexv  TorE).,  February.,  1895. 


C 71  ] 


THE  PORTRAITS  OF  WHISTLER 


260.  ERNEST  HASKELL 

Half-length.  Drawn  from  memory.  Charcoal,  with  wash. 

Original  drawing  destroyed. 

Reproduced  in  The  Bookman  (JSfew  Tori),  August,  1899. 

261.  ERNEST  HASKELL 

Full-length.  Drawn  from  memory.  India  ink,  with  wash. 

Reproduced  in  The  Critic  {New  Tori),  January,  1901. 

262.  L.  J.  BINNS 

Full-length;  standing.  Black  and  white,  with  water-colour. 

Height,  75^  . Width,  5%  . 

Property  of  Kennedy  and  Company,  New  York. 

263.  ANTHONY  GUARINO 

Full-length;  standing,  facing  to  right.  Oil. 

Reproduced,  in  colours,  in  Catalogue  of  an  Exhibition  of  Portraitures  of  James  McNeill 
Whistler  {Rochester,  Neiv  Tork:  privately  printed  for  Elmer  Adler,  1915). 


[ 72  ;] 


No.  195 


w 


‘V 

'i 

1 


#■ 


r 


No.  19(i 


Uu  l\'nni.9.'i‘um  of 


J 


I 


By  Permission  of  Punch. 


No.  198 


V 


No.  214 


No.  216 


Permission  of  G.  Bell  and  Sons. 


No.  239 


By  Permission  of  Vayiify  Fair. 


No.  242 


•f 


V 


t 


■ r 
i 


I 


t 


No.  247 


T 


1 fi- 


. 


TT 


•I 


No.  2-t9 


(' 


No.  255 


ICONOGRAPH  Y 


V 

Photographs 

204-  [UNKNOWN] 

Half-length;  facing  to  left.  Whistler  as  a boy.  Small  oval  da- 
guerreotype. 

Reproduced  in  first  four  editions  of  E.  R.  and  J.  PennelV  s The  Life  of  James  McNeill 
Whistler  (^London:  William  Heinemann;  Philadelphia:  J.  B.  Lippincott  Company^ 
1908,  etcl). 


205.  [UNKNOWN] 

Head  and  shoulders.  The  artist’s  face  seen  nearly  in  profile,  facing 
to  left.  Small  oval. 

Reproduced  in  frst  four  editions  of  E.  R.  and  J.  PenneWs  The  Life  of  James  McNeill 
Whistler. 


200.  [UNKNOWN] 

Three-quarters  length.  The  artist  is  standing  and  seen  full-face. 
He  wears  an  overcoat  and  one  hand  rests  on  the  back  of  a chair. 
Cabinet  size. 

Taken  in  1865. 

Reproduced  in  The  Print  Collector’s  Quarterly  (Bostoii).,  December.,  1916. 


207.  [UNKNOWN] 

Three-quarters  length.  The  artist  is  standing  and  seen  in  profile, 
to  left.  Cabinet  size. 

Taken  in  Paris  about  1865. 

Reproduced  as  frontispiece  to  Howard  Mansfeld' s A Descriptive  Catalogue  of  the 
Etchings  and  Dry-points  of  James  Abbott  McNeill  Whistler  (^Chicago:  Hie  Caxton 
Club,  1909). 


C 73  ] 


THE  PORTRAITS  OF  WHISTLER 


268.  OTTO  H.  BACHER 

Full-length ; standing.  Taken  in  Whistler’sTite Street  studio, Chel- 
sea. 

Reproduced  in  Otto  H.  Bached s With  Whistler  in  Venice  (^New  York:  The  Century 
Company.,  1908). 

269.  HON.  F.  LAWLESS 

Half-length.  One  of  a group  of  five  men,  taken  in  Whistler’s  Tite 
Street  studio,  Chelsea,  in  1881. 

Reproduced  in  Jirst  four  editions  of  E.  R.  and  J.  PennelVs  The  Life  of  James  McNeill 
Whistler. 

270.  [UNKNOWN] 

Full-length;  seated;  seen  nearly  full-face.  Taken  with  Mortimer 
Menpes.  A snapshot. 

Reproduced  in  Mortimer  Menpes' s Whistler  as  I Knew  Him  {London:  Adam  and 
Charles  Black;  New  York:  The  Macmillan  Company.,  1904). 

271.  [UNKNOWN] 

Full-length;  seated;  profile, to  left. Taken  with  Mortimer  Menpes. 
A snapshot. 

Reproduced  in  Mortimer  Menpes' s Whistler  as  I Knew  Him. 

272.  [UNKNOWN] 

Full-length,  standing;  profile,  to  left.  Taken  with  Mortimer  Men- 
pes and  William  M.  Chase. 

Reproduced  in  Mortimer  Menpes' s Whistler  as  I Knexv  Him. 

273.  MORTIMER  MENPES 

Full-length.  The  artist  holds  a painter’s  “wand”  under  his  arm. 

Reproduced  in  Metropolitan  Magazine  {New  YorL) .,  September.,  1904. 

[ 74  ] 


ICONOGRAPHY 


274.  [UNKNOWN] 

Full-length;  standing.  The  artist,  who  wears  a top-hat,  holds  a 
painter’s  “wand.”  William  M.  Chase,  Mortimer  Menpes,  and 
another  man  are  in  the  picture. 

Taken  in  1885. 

Reproduced  in  Katherine  M.  Roof’s  The  Life  and  Art  of  William  Merritt  Chase 
(^New  York:  Charles  Scrihneds  Sons^  1917). 

275.  w.  B.  NORTHROP 

The  artist  is  seen  driving  in  a landau,  with  Mrs.  Brown-Potter. 

Reproduced  in  W.  B.  Northrop"' s With  Pen  and  Camera  (^London;  R.  A.  Everett  and 
Company^  1904). 

276.  ELLIOTT  AND  FRY  (London) 

Head  and  shoulders. 

277-  LONDON  STEREOSCOPIC  COMPANY 
Three-quarters  length;  seated,  smoking  a cigarette. 

Height,  Width,  4}i . 

278.  H.  S.  MENDELLSSOHN  (London) 

Three-quarters  length;  standing,  holding  a painter’s  “wand.” 
Height,  5 % . Width,  4. 

279.  H.  S.  MENDELLSSOHN  (London) 

Similar  to  above,  but  full-length. 

Height,  7)i  . Width,  . 

280-284.  WILLIAM  HEINEMANN 

Four  snapshots.  Three  are  full-length,  one  is  three-quarters  length ; 
all  were  taken  out  of  doors. 


n V5  ] 


THE  PORTRAITS  OF  WHISTLER 


Reproduced  in  jirst  four  editions  of  E.  R.  and  J.  Pennells  The  Life  of  James  McNeill 
Whistler. 

285.  DORNAC  (Paris) 

Full-length;  standing.  Whistler  is  seen  at  his  printing-press  in  his 
studio  on  the  rue  Notre-Dame-des-Champes,  Paris. 

Height,  10.  Width,  8. 

Reproduced  in  fifth  edition  of  E.  R.  and  J.  Pennell's  The  Life  of  James  McNeill 
Whistler. 


286.  DORNAC  (Paris) 

Full-length;  seated  on  a sofa.  Taken  in  Whistler’s  studio  on  the 
rue  Notre-Dame-des-Champes,  Paris. 

Height,  8.  Width,  10. 

Reproduced  in  frst  four  editions  of  E.  R.  and  J.  Pennell's  The  Life  of  James  McNeill 
Whistler. 


287.  DORNAC  (Paris) 

Full-length;  seated  on  a chair.  Taken  in  Whistler’s  studio  on  the 
rue  Notre-Dame-des-Champes,  Paris. 

Height,  10.  Width,  8. 


C 76  ] 


ICONOGRAPHY 


VI 

Literature 

OTTO  H.  BACHER 
In  With  Whistler  in  Venice. 

“ One  day,  some  time  later,  as  several  of  us  were  leaving  the  Academy  of  Fine  Arts, 
we  saw  the  American  consul,  Mr.  Grist,  and  a curious,  sailor-like  stranger  coming 
down  the  steps  of  the  iron  bridge  that  crosses  the  Grand  Canal.  The  latter  was  short, 
thin,  and  wiry,  with  a head  that  seemed  large  and  out  of  proportion  to  the  lithe 
figure.  His  large,  wide-brimmed,  soft,  brown  hat  was  tilted  far  back,  and  suggested  a 
brown  halo.  It  was  a background  for  his  curly  black  hair  and  singular  white  lock,  high 
over  his  right  eye,  like  a fluffy  feather  carelessly  left  where  it  had  lodged.  A dark  sack 
coat  almost  covered  an  extremely  low  turned-down  collar,  while  a narrow  black  ribbon 
did  service  as  a tie,  the  long  pennant-like  ends  of  which,  flapping  about,  now  and  then 
hit  his  single  eyeglass.” 

MORTIMER  MENPES 
In  Whistler  as  I Knew  Him. 

“ In  appearance  Whistler  was  slight,  small-boned,  and  extremely  dainty.  He  seemed 
always  to  have  a sparkling  air  about  him.  His  complexion  was  very  bright  and  fresh;  his 
eyes  were  keen  and  brilliant;  and  his  hair,  when  I knew  him,  was,  save  for  one  snowy 
lock,  of  a glossy  raven-black.  His  dress  was  quaint,  and  a little  different  fi'om  that  of 
other  men,  and  his  whole  appearance,  even  his  deportment,  was  studied  from  the  artistic 
standpoint.” 

ARTHUR  SYMONS 

In  an  essay  on  Whistler  published  in  Studies  in  Seven  Arts. 

“ And  the  man,  whom  I had  only  before  seen  casually  and  at  a distance,  seemed  to  me 
almost  preposterously  the  man  of  his  work.  At  dinner  he  had  been  the  controversialist, 
the  acrobat  of  words;  I understood  how  this  little,  spasmodically  alert,  irritably  sen- 
sitive creature  of  brains  and  nerves  could  never  have  gone  calmly  through  life,  as  Rodin, 
for  instance,  goes  calmly  through  life,  a solid  labourer  at  his  task,  turning  neither  to 

[ 77  ] 


THE  PORTRAITS  OF  WHISTLER 


the  right  nor  to  the  left,  attending  only  to  his  own  business.  He  was  a great  wit,  and 
his  wit  was  a personal  expression.  Stupidity  hurt  him,  and  he  avenged  himself  for  the 
pain.  All  his  laughter  was  a crackling  of  thorns  under  the  pot,  but  of  flaming  thorns, 
setting  the  pot  in  a fury  of  boiling.  I never  saw  any  one  so  feverishly  alive  as  this  little, 
old  man,  with  his  bright,  withered  cheeks,  over  which  the  skin  was  drawn  tightly,  his 
darting  eyes,  under  their  prickly  bushes  of  eyebrow,  his  fantastically-creased  black  and 
white  curls  of  hair,  his  bitter  and  subtle  mouth,  and,  above  all,  his  exquisite  hands, 
never  at  rest.  He  had  the  most  sensitive  fingers  I have  ever  seen,  long,  thin,  bony, 
wrinkled,  every  finger  alive  to  the  tips,  like  the  fingers  of  a mesmerist.  He  was  proud 
of  his  hands,  and  they  were  never  out  of  sight ; they  travelled  to  his  moustache,  crawled 
over  the  table,  grimaced  in  little  gestures.  If  ever  a painter  had  painter’s  hands,  it  was 
Whistler.  And  his  voice,  with  its  strange  accent,  part  American,  part  deliberately 
French,  part  tuned  to  the  key  of  his  wit,  was  not  less  personal  or  significant.  There 
was  scarcely  a mannerism  which  he  did  not  at  one  time  or  another  adopt,  always  at 
least  half  in  caricature  of  itself.” 

FRANK  HARRIS 
In  Contemporary  Portraits. 

“At  first  sight  I was  struck,  as  I imagine  every  one  was  struck,  by  his  appearance;  an 
alert,  wiry  little  person  of  five  feet  four  or  five;  using  a single  eyeglass  and  very  neatly 
dressed,  though  always  with  something  singular  in  his  attire — the  artist’s  self-conscious 
protest  which  gave  him  a certain  exotic  flavor  and  individuality.  He  wore  his  abun- 
dant curly  black  hair  rather  long,  and  just  over  the  forehead  a little  lock  of  quite  white 
hair  like  a plume;  in  the  street  a French  top  hat — a stove-pipe,  as  it  is  called — with 
a straight  brim  which  shouted  :‘I ’m  F rench,  and  proud  of  it ! ’ at  the  passers  by. 

“ The  second  or  third  time  I met  him  I noticed  that  his  features  were  well  shaped : 
both  chin  and  forehead  broad ; the  eyes  remarkable,  piercing,  and  aggressive ; a grey- 
ing black  moustache,  inclined  to  curl  tightly,  added  a note  of  defiance.  Though  they 
were  not  really  alike,  the  expression  of  his  face  reminded  me  of  Edmond  de  Goncourt 
and  Tourgenief’s  description  of  his  eyes:  ‘luisants  et  sombres  et  pas  bons  du  tout’ 
(shining,  sombre  eyes,  anything  but  kindly) . Whistler’s  eyes  were  grey-blue  and  gim- 
let-keen— ‘anything  but  kindly,’  and  the  moustache  and  carriage  intensified  the  cocky 
challenge  of  the  fighter : Whistler  always  reminded  me  of  a bantam. 

c 78 : 


ICONOGRAPHY 


“In  every  assembly  he  always  stood  apart;  with  a certain  perky  distinction;  an 
unsparing,  frank  critic:  one  talked  to  him,  drew  him  out  expecting  incisive,  caustic 
comment.” 

WILLIAM  B.  OSGOOD  FIELD 
In  a Diary  written  in  Paris  in  1897. 

'"^December  19:  Yesterday  evening  the  great  Whistler  came  in  to  see  George  [George 
Vanderbilt,  whose  portrait  he  was  then  painting]  and  remained  for  dinner.  What  an 
extraordinary  man!  He  entertained  us  through  dinner  by  lauding  the  French  people 
over  the  English.  Some  paper  here  has  pleased  him  very  much  by  the  remark  ‘ Vistlaer 
a vomis  1’ Angleterre ! ’ He  kept  saying  this  over  at  intervals  with  the  greatest  delight. 
He  is  old  and  wonderful.  His  hair,  which  is  quite  long,  falls  over  his  forehead  in  grey 
ringlets.  His  eyebrows  are  black  and  bushy,  the  type  of  Mephistopheles’.  His  moustache 
is  a confused  mass,  assuming  the  form  of  a droop  and  curl  on  the  end.  The  upper  edge 
of  the  lower  lip  holds  a small  fringe,  and  his  necktie  is  formed  of  black  silk  with  two 
ends  coming  well  out  on  the  left  shoulder  and  one  short  loop  passing  out  to  the  right. 
The  silk  is  about  one  inch  wide  and  looks  like  the  remnant  of  some  larger  piece,  the 
edges  being  unbound.  After  each  attack  of  laughter,  the  ends  of  the  silk  tie  have  to  be 
adjusted  on  the  lapel  and  left  shoulder.  His  hands  are  quite  remarkable,  his  fingers  long 
and  tapering,  and  show  to  great  advantage  in  handling  the  ends  of  his  tie.  This  is  the 
picture  as  it  presents  itself  to  me.  His  conversation  is  very  interesting.  He  is  very  de- 
cided, just  verges  enough  on  the  eccentric  to  be  interesting — with  the  most  satisfied  and 
perfect  self-appreciation  I have  ever  seen  in  any  human  being.” 


C 79  ] 


INDEX 

TO  artists’  and  photographers’  names 
The  numerals  refer  to  pages 


Alexander,  John  W.,  16,  47,  48. 

“Ape”  (Carlo  Pellegrini),  20,  21,  69. 
“B.,  A.,”  62. 

Bacher,  Otto  H.,  74. 

Barney,  Mrs.  A.  C.,  56. 

Beardsley,  Aubrey,  19,  64. 

Beerbohm,  Max  (“Max”),  20,  21,  66, 
70,  71. 

Bentham,  George,  45. 

Binns,  L.  J.,  72. 

Boehm,  Sir  J.  Edgar,  21,  59. 

Boldini,  Giovanni,  15,  17,  18,  39,  50,  51. 
Boxall,  Sir  William,  13,  34. 

Brenner,  Victor  D.,  59. 

Chase,  William  M.,  14,  15,  39. 

Clark,  J.  Clayton  (“  Kyd”),  70. 

Crane,  Walter,  21,  67. 

Cuneo,  Cyrus,  16,  57. 

Czajkowski,  Joseph,  56. 

“D.,  M.,”  44. 

Domac,  22,  76. 

du  Maurier,  George,  15,  16,  40,  41,  65. 
Edwards,  Edwin,  19,  47. 

Edwards,  H.  Wharton,  71. 

Elliott  and  Fry,  75. 

Falls,  C.  B.,  58. 

Fantin-Latour,  13,  16,  34,  41,  51. 
Furniss,  Harry,  21,  63. 

“F.,  H.,”  65. 

“G.,  A.  C.,”  43. 

Gaspard,  J.  M.,  57. 

Gatcombe,  George,  65. 

[ 


“Gill,”  67. 

Greaves,  Walter,  13,  14,  35,  36,37,  38,  48, 
49. 

Greiffenhagen,  Maurice,  18,  42. 

Guarino,  Anthony,  72. 

Guerard,  Henri,  50. 

Haden,  Sir  Francis  Seymour,  17,  47. 
Haskell,  Ernest,  18,  21,  54,  72. 
Heinemann,  William,  75. 

Helleu,  Paul,  17,  50. 

Hole,  William,  53. 

Juengling,  Frederick,  49. 

Kastor,  Robert,  57. 

Keene,  Charles,  19,  61. 

“Kyd”  (J.  Clayton  Clark),  70. 

Lathrop,  Francis,  47. 

Lawless,  F.,  74. 

Lillie,  R.,  44. 

Lyall,  Charles,  65. 

McManus,  S.,  65. 

“M.,  C.  A.,”  45. 

Mason,  Finch,  66,  67,  70. 

“Max”  (Max Beerbohm), 20, 21,  66,70. 
May,  Phil,  16,  21,  44,  64. 

Mendellssohn,  H.  S.,  75. 

Menpes,  Mortimer,  15,  18,  39,  40,  54,  55, 
56,  69,  74. 

Nicholson,  William,  18,  53. 

Northrop,  W.  B.,  75. 

Partridge,  J.  Bernard,  21,  62. 

Pellegrini,  Carlo  (“Ape”),  20,  21,  69. 
Pennington,  Harper,  21,  66. 

81  ] 


INDEX 


Poynter,  Sir  Edward  J.,  16,  17,  42,  46, 
47. 

Rajon,  Paul,  16,  52. 

Reed,  E.  T.,  21,  64,  69. 

Reich,  Jacques,  45,  58. 

Rodin,  Auguste,  21,  22,  60. 

Rothenstein,  William,  19,  43. 

Sambourne,  Linley,  21,  61. 

Sickert,  Walter,  15,  19,  39,  43,  53. 
Simpson,  Joseph,  21,  57,  67. 

“Spy”  (Leslie  Ward),  19,  20,  68,  69. 
Starr,  Sidney,  18,  42. 

Stereoscopic  Company,  75. 


Teall,  Gardner  C.,  66. 

Thomas,  Percy,  49. 

Waller,  Pickford,  67,  70. 

Ward,  Leslie  (“Spy”),  19,  20,  68,  69. 
Watkins,  John,  42. 

Way,  Thomas  R.,  14,  19,  38,  51,  52, 
53. 

Whistler,  James  McNeill,  6,  7,  8,  9,  10, 
11,  12,  16,  25,  26,  27,  28,  29,  30,  31, 
32,  33,  42,  53. 

Wrege,  R.,  65. 

Wright,  F.  Harriman,  60. 

Zinn,  Louis  B.,  59. 


Two  hundred  and  fifty  copies  printed  during  November,  1918,  by 
D.  B.  Updike,  The  Merrymount  Press,  Boston,  U.S.A. 


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